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Title : Jaws Jaws genre : Horror, Thriller, Adventure Jaws crew : John Williams, Steven Spielberg, John M. Dwyer, Jeff Gourson, Richard D. Zanuck, Bill Butler, David Brown, Peter Benchley, Peter Benchley, Carl Gottlieb Jaws release date : 16 August 19 1 0 Jaws runtime : 124 Minutes Jaws Crew : John Williams, Steven Spielberg, John M. Dwyer, Jeff Gourson, Richard D. Zanuck, Bill Butler, David Brown, Peter Benchley, Peter Benchley, Carl Gottlieb Jaws movie cast : Roy Scheider, Richard Dreyfuss, Robert Shaw, Lorraine Gary, Murray Hamilton, Jay Mello, Chris Rebello, Jeffrey Kramer, Lee Fierro, Jeffrey Voorhees ========================ஜ۩۞۩ஜ==========================
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When an insatiable great white shark terrorizes the townspeople of Amity Island, the police chief, an oceanographer and a grizzled shark hunter seek to destroy the blood-thirsty beast. Jaws 1975 review : Jaws.
A man eating shark is terrorising the holiday island of Amity. Police chief Martin Brody, shark hunter Quint and marine biologist Matt Hooper set sail in the hope of killing the great white monster.
Jaws is responsible for many things, it's responsible for propelling director Steven Spielberg's career into the stratosphere, it was responsible for a downturn in the package holiday trade, and it was responsible for shaping the summer blockbuster release practice's. There are many other things which one doesn't need to bore you with, it's just true to say that Jaws is firmly ensconced in movie history, if one hasn't seen it then one surely knows about it, it is, even today, part of popular culture.
But is it any good? Is it worthy of a long standing reputation as one of the greatest monster movies of all time? Hell yes it is, one or two easily overlooked flaws aside, it busted the box office (world wide) and tapped into a primal fear that resides in the majority of mankind, the unseen that resides in the sea.
Jaws sets out its marker right from the start with a truly shocking and attention grabbing opening sequence, from then on in Spielberg (learning from Hitchcock for sure) tweaks the tension to have the audience living on their nerves, even as character building (by way of Brody's family arc) sedates the pace, we just know that it's all relative to an extension of fear and terror that is around the next corner. After the first victims' remains are found, Brody glances out at the ocean, Spielberg perfectly framing the shot to say so much about what we are about to be witness' to. Jolts and shocks pop up from time to time to help build the unease, whilst Spielberg makes the audience wait before we even see what it is that so coldly and efficiently destroys man. Then it's the claustrophobic switch as our brave protagonists are out at sea on Quint's boat, unaware that the giant menace is now hunting them, eyes as black as death itself.
So many great scenes linger for all time in the memory, the entrance of Quint is a hum dinger, a mournful widow reducing Brody to a stunned realism, the Indianappolis monologue, the bigger boat! Just some of the reasons why I personally love cinema so much. The score from John Williams is as effective as any for the genre and Robert Hoyt's sound team's work furthers the unfolding dread. The cast are superb and uniformly excellent, managing to cast aside technical problems (and genuine resentments at times) to portray this story with verve and a genuine depth of feeling. Yet Roy Scheider (Brody), Robert Shaw (Quint) and Richard Dreyfuss (Hooper) were far from from original choices, Charlton Heston was wanted for the role of Brody, Sterling Hayden and Lee Marvin were both mooted for Quint, and John Voight was Spielberg's preferred choice for Hooper. Whilst Jaws author (and co screen writer here) Peter Benchley was heading for the top by asking for Newman, Redford and McQueen!! Imagine that!
Still it all turned out well in the end because Jaws stands the test of time as one of the best films of its type. No amount of complaining about continuity and a rough looking mechanical shark will ever dim its appeal, even as I revisited it recently for the hundredth time I still got tingles all over my body. So file it alongside King Kong in the pantheon of Monster Movie Masterpieces. 10/10 always, now go enjoy your dip in the ocean. Is it safe to go back in the water? ...
Steven Spielberg got ahold of the incredible Peter Benchley-penned novel about a giant, carnivorous Great White (dubbed "Jaws") who swims the ocean waters off a fictional resort town, preying on both the Island's locals and its visitors alike, and adaptated, for the silver screen, what would become one of the most terrifying American made thrillers to ever be released in the worldwide cinema. Exceptional filmmaking! And members of Spielberg's crew had the nerve to maliciously "mock" Jaws, by referring to it as "Flaws", during the filming process? All because of a few "glitches" in the mechanical shark? Ha! Who's laughing now?
Great screenwriting by Benchley and Gottlieb. Great composition by the legendary John Williams. Great direction by Spielberg. Phenomenal performances by Scheider, Shaw, and Dreyfuss. Great supporting cast. Just...magnificent. Jaws is a magnificent film. A true classic. Much like the shark itself, the movie starts slowly, deep down in the depths before coming to the surface to explode in pure sensationalism.
Jaws is one of those rare exceptions where high-brow art meets fun entertainment. At the time of its making, however, simply keeping its head above water was the most the cast and crew were hoping for.
But Spielberg had created something special. During production, no one saw it--I'm not sure Spielberg himself saw it, but it was there. I think it was really editor Verna Fields who saw it and put it together.
Jaws begins the way most primal fears begin: someone is alone, in the dark, in an alien environment, and is being attacked from some unknown entity. People remark today how Jaws worked so well, that it's kept them afraid of the ocean for years. I disagree. I think it's because we are scared of the ocean is why Jaws works so well. The opening scene of the young girl being savaged in the black nothingness that is the night ocean is terrifying because it preys on primal fears; it doesn't create them.
Next we're introduced to our cast of characters: There's Police Chief Martin Brody--an everyman with a fear of the water--and his wife, Ellen. There's Brody's loyal deputy Len Hendricks (mysteriously named "Jeff" in the sequel). Then, of course, there's the other side. There is the crooked mayor Larry Vaughan, and his two toadies newspaper editor Harry Meadows and coroner Carl Santos. After Brody and Hendricks find evidence of a hungry shark off the coast of the resort town of Amity, they do the sensible thing and start closing up the beaches. The mayor, seeing dwindling dollar signs, convinces Meadows and Santos to back him, and together they confront Brody and put the kibosh on his beach closing plan.
In an era where the primitive special effects technology gave us a shark that looked like a pool toy, it became essential that the shark not be the focal point of the film. And while a fin here and a barrel there do work wonders, it's only because the shark is far from the only villain in the movie. To have credibility, we have to have a human villain. And that is where Vaughan comes in.
After Vaughan's cavalier "it-can't-happen-again" attitude blows up in his face, Brody brings in the book smart, but decidedly out-of-his-element marine biologist Matt Hooper. Hooper tells Brody everything he and we, the audience, already know: The shark is out there; it's hungry; it's eating people; and it will continue to do so unless it is killed.
After a disastrous Fourth of July celebration that should have gotten Vaughan impeached, Brody and Hooper join forces with Quint, a grizzled fisherman with a personal vendetta against sharks. The movie then switches from its horror and drama elements and becomes something of an adventure, foreshadowing Spielberg's work on films like Raiders of the Lost Ark. Even John Williams' score begins to conjure up images of Errol Flynn-style swashbuckling. The adventure almost seems fun.
And that is when the shark, previously only a shadow, fin, or plot point referenced by dialogue, takes center stage. The movie shifts gears further near the end, going from adventure to a full on monster movie.
The build up is slow, relying on showing us the results of the shark's presence rather than the shark itself. This creates enough fear and credibility so that by the time the big, rubbery toy shark is commanding the screen, we're afraid of it. It's already been established as a monster.
The movie's pacing, dialogue and acting are all perfect, creating a strong enough foundation on which a silly, albeit terrifying, plot rests. By the time the shark is sinking boats and eating shark cages, Spielberg has made us by into it that he could have had the shark blasting off for the moon and we would have accepted it. And that is how and why Jaws works. Solid shark-thriller that still holds up well with each subsequent viewings. Love the cast especially Robert Shaw and was entertained even during some of the slower moments. Not a favorite of mine or amongst Spielberg's resume, but a lot of fun. **4.25/5**
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WALL·E is the lonely robot, the last of his kind, left behind by the humans on Earth. His job - to clean up the garbage the humans have dumped. In 700 years, he seams to have developed one tiny bug - a personality. Join WALL·E in his interstellar quest to find a partner.
WALL·E is short, satirical, dialogue-free and a visual masterpiece. And the fact that it is animated does not make it any less watchable as an adult.
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If you ever needed a movie that "does" and not "says", this is your example, it's how world building should be done.
While I think I could literally talk about this movie for hours, I don't want to spoil anything else by talking about it here other than this is a near perfect movie to me.
Watch, enjoy, be well. Wonderful.
'WALL·E' is beautifully made, despite a relatively simple premise and no real cast to speak of. A big reason for its charm is the strong message and adorable lead characters - WALL·E (Ben Burtt) and EVE (Elissa Knight).
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After losing an acting role and his girlfriend, Jake Scully finally catches a break: he gets offered a gig house-sitting in the Hollywood Hills. While peering through the beautiful home's telescope one night, he spies a gorgeous blonde dancing in her window. But when he witnesses the girl's murder, it leads Scully through the netherworld of the adult entertainment industry on a search for answers -- with porn actress Holly Body as his guide. Body Double 1984 review : De Palma Double Bubble, Toil and Trouble.
Body Double is directed by Brian De Palma, he also co-writes the screenplay with Robert J. Avrech. It stars Craig Wasson, Melanie Griffith, Gregg Henry, Deborah Shelton, Guy Boyd and Dennis Franz. Music is by Pino Donaggio and cinematography by Stephen H. Burum.
Brian De Palma continued his crusade to push buttons of the sensitive whilst homaging his hero Alfred Hitchcock, with this cheeky, garish, sleazy thriller. Even when moving away from Hitch like movies, he created a storm with Scarface (1983), so the critics of 1984 wondered if a return to suspense thriller territory would put the director back on an even cinematic keel? Not a bit of it! The reaction to Body Double was ridiculously over the top, apparently a misogynistic homage to the porn industry, with exploitation gore thrown in for good (bad) measure, Body Double was the devil's spawn in the eyes of critics. The public? Not so much, film was a sure fire hit at the box office.
Of course today it seems all very tame, where not even a simulated drilling killing can raise the temperature of the audience, or that frank sexual language and bare bodies no longer makes cinema goers blush. On reflection now it's easy to view De Palma's movie as a visionary piece of work, a film gently poking the ribs of Hollywood and the MPAA, and as was always the case with his 70s and 80s work, he was a director who easily elicited a response from his audience. And with his box of cinematic tricks still impressive before he became over reliant on them, Body Double is a fascinatingly lurid viewing experience.
That it's Vertigo and Rear Window spliced together is a given, but that doesn't make it a bad film, besides which it bears the De Palma stamp as well, undeniably so. Plot finds Jake Scully (Wasson), a struggling actor with claustrophobia, thrust into a world of murder, obsession, deceit and paranoia, for when he house sits for a newly acquired friend, he spies a sexy lady through the telescope apparently being stalked by an odd looking Native American. To reveal more would spoil the fun of anyone watching for the first time, but suffice to say that Jake has entered the realm where neo-noir protagonists wander around wondering how and why they are in this mess.
It's pulpy and pappy, but in the best ways possible, and unlike many other films made by directors who ventured into similar territory, it's never boring (hello Sliver). Cast are appropriately cartoonish or animated, the twists fun if not hard to see coming, and with De Palma's visual panache cosying up nicely with Donaggio's musical score, Body Double is fine entertainment brought to us by a director with a glint in his eye. 8/10 Body Double infiltrates the vehemence of adult entertainment through inspired Hitchcockian thrills. De Palma was at the height of his success during the eighties. Implementing his technical flourishes within sub-genres that we’re not necessarily accessible for the average audience member. Erotic thrillers, whilst some may describe as distasteful and misogynistic, accentuated sexualisation to further enhance the lust of man. Body Double is no different. Much like the pornographic industry that is portrayed, it certainly has a sub-par screenplay that persuades you to fast-forward to the “act” in question, yet manages to lure you into the sleazy allurement of De Palma’s technically adept direction.
After waltzing in on his partner cheating on him, a novice actor is recruited by a friend to house-sit a luxury abode, conveniently positioned adjacently to another property hosting a sumptuous succubus of temptation. Naturally, downbeat and fuelled by anger, he resorts to peeping and spying as she provocatively dances in front of the window before proceeding to creepily follow her the next day.
As the main man himself stated, this is inspired by Hitchcock’s two greatest thrillers: ‘Rear Window’ and ‘Vertigo’. The added eroticism granting De Palma’s feature a differing (if unpleasantly salty...) flavour that uniquely defines its narrative qualities. Initially, the first act kicked off with a mundane imitation of Hitchcock’s aforementioned ‘Rear Window’, opening itself up to comparative criticisms. The introductory setup, outlining Wasson’s Jake Scully as a claustrophobic unconfident mess, sent the plot down a one-way route that, upon first thought, had minimal opportunities for a U-turn. The convenience of the telescope as Scully unashamedly invades the privacy of his new temporary neighbour and his dreadful tailing techniques complementing his mediocre onscreen acting portrayals, sent my own thoughts down the predictable avenue. Was Scully a perverted mess, or was he being set up? I thought I knew. But then De Palma trapped me.
Through ornate neo-noir aesthetics and a vapid insight into the world of adult entertainment, he precariously planted a sufficient amount of false breadcrumbs to force me to second guess myself. And that I did. The mystery slowly unraveling, accompanied by a smooth monosyllabic score and Frankie Goes To Hollywood’s legendary gay anthem “Relax”, unlocking the intentions of all characters involved. Heightening the glossy lifestyle of adult performers, De Palma‘s directorial flair, mostly consisting of extended takes and distant shots, invited audiences into a tainted environment plagued by primitive regression. Tantalising voyeurism and dangerous obsession. Even hints of Argento’s influence of the giallo sub-genre.
Various techniques, especially the continuous panoramic 360 revolving as Wasson and Shelton questionably embraced each other, resembled dated homages that failed to match the noir aesthetics that De Palma meticulously crafted. The conclusive ten minutes unfortunately unwrapped certain revelations in an underwhelming manner, by having the story abruptly cut with no substantial resolution. This left myself viewing the proceeding credits montage with an overbearing feeling of unsatisfactory bewilderment.
Undoubtedly, Body Double is rough around the edges. Occasionally bypassing substantial development for evocative voyeuristic tendencies. But that does not deter from De Palma’s intrinsic cinematic approach, where the night life of Hollywood truly becomes illuminated.
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Title : Return of the Jedi Return of the Jedi genre : Adventure, Action, Science Fiction Return of the Jedi crew : George Lucas, George Lucas, George Lucas, George Lucas, Rick McCallum, John Williams, Howard G. Kazanjian, Mary Selway, Norman Reynolds, Ben Burtt Return of the Jedi release date : 18 January 19 1 3 Return of the Jedi runtime : 135 Minutes Return of the Jedi Crew : George Lucas, George Lucas, George Lucas, George Lucas, Rick McCallum, John Williams, Howard G. Kazanjian, Mary Selway, Norman Reynolds, Ben Burtt Return of the Jedi cast : Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels, Peter Mayhew, Sebastian Shaw, Ian McDiarmid, Frank Oz, James Earl Jones ========================ஜ۩۞۩ஜ==========================
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Luke Skywalker leads a mission to rescue his friend Han Solo from the clutches of Jabba the Hutt, while the Emperor seeks to destroy the Rebellion once and for all with a second dreaded Death Star. Return of the Jedi 1983 review : This is not quite Bantha fodder.
Following on from the freshness of Star Wars (1977) and the all round greatness of craft and story telling that was The Empire Strikes Back (1980), Return of the Jedi was always going to struggle in comparison. That's not to say there are not fans who prefer it of the original trilogy, because there are many, and like minded fans of George Lucas' space saga shouldn't have a problem with that.
However, it is the weakest of the three. The characters we have come to love, and to be a part of their universe, are performed with gusto - but they are mostly thinly written, reduced to playing second fiddle to special effects, while the dark heart has been replaced with - well - smokey hokey (furry teddy bears with sticks and stones, I ask you). Then there's the lack of sexual tension so evident in the previous two films. Oh we love Han and Leia because that's love! But one can't help missing the sparks that was once between them - and Luke of course, hmm...
Yet for all that, of the irks and complaints, Return of the Jedi is still a thrilling film, the budget up on the screen to entertain the children and the adults with the child within. Characters and creatures wander into this wonderful world for super impact. The Emperor, Jabba the scene stealer, Rancor and Sarlaac, while the speeder bike chase, further lightsaber shenanigans and the space battle ensure the action is never far away - even if one can be a little underwhelmed by the big finale not all it can be.
Ultimately it was not without faults, but still it was one hell of a conclusion to a genre defining (then) trilogy. 8/10 _**Fun, cute, imaginative, iconic space adventure with a kick-axx cast**_
"Star Wars VI: Return of the Jedi" (1983) was the anticipated end of the original trilogy that began with the initial blockbuster from 1977. The trilogy is an epic, but simplistic space fantasy about an evil empire and the noble souls who dare to fight it. The main cast features Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia), Billy Dee Williams (Lando Calrissian), Alec Guinness (Obi-Wan Kenobi), Ian McDiarmid (Emperor) and the voice work of James Earl Jones (Darth Vader) and Frank Oz (Yoda).
This is an amusing, inventive, iconic space adventure with a stellar cast that upped the ante with edgy cuteness. While I prefer the adult-oriented space science-fiction of Star Trek, I can’t deny that the space fantasy of Star Wars always grants you an entertaining couple hours.
This one features lots of sci-fi action, cartoonish characters, great sets, Carrie Fisher at her fittest in an alluring costume, space ships, alien bogs and awesome forest sets (shot in the Redwoods of Northern Cal). Ford and Williams are at their charismatic best. Even the more obscure Hamill shines as the boyish hero and the Darth Vader story arc is notable. Then there’s RD-D2, C-3PO and Chewbacca.
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Title : Interstellar Interstellar genre : Adventure, Drama, Science Fiction Interstellar crew : Hans Zimmer, Steven Spielberg, Christopher Nolan, Christopher Nolan, Christopher Nolan, Jonathan Nolan, Emma Thomas, John Papsidera, Lynda Obst, Lee Smith Interstellar release date : 11 June 19 7 0 Interstellar runtime : 169 Minutes Interstellar Crew : Hans Zimmer, Steven Spielberg, Christopher Nolan, Christopher Nolan, Christopher Nolan, Jonathan Nolan, Emma Thomas, John Papsidera, Lynda Obst, Lee Smith Interstellar movie cast : Matthew McConaughey, Jessica Chastain, Anne Hathaway, Michael Caine, Casey Affleck, Mackenzie Foy, Timothée Chalamet, Bill Irwin, Matt Damon, David Gyasi ========================ஜ۩۞۩ஜ==========================
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The adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage. Interstellar 2014 review : Well, one off from two of this year's most expected movies alongside 'The Battle of Five Armies'. Like all the Chris Nolan fans, I was equally excited to see the movie on the opening day opening show. But I slightly disappointed that it was not a digital 3D film. I agree, this science-fiction was more dramatized than usual space travel stories does with an adventure-thriller. Almost a 3 hour long stretch movie did not waste much time to take us to the core of the story. Get prepared for this extremely rare voyage into the space with a logical explanation for everything you see on the screen. Well done research for the most matured and intelligent writing. All the credit must go to Nolan brothers. A good sign from Jonathan Nolan, who can make big in the entertainment industry in a future like his brother.
As we know many had liked 'Inception', to me that was a simple multi-layered action movie, that's all. But the same stuffs that used in this film makes sense. In fact, you have to have a little knowledge over how the universe works, so then it will be easy to catch the scene and situations while watching the movie. Totally like a documentary style concept, but with the additional stuffs like characters and its emotions add flavor that gives a movie look. An educational movie, though it also can work for those who wants just entertainment. Only the slow movie pace would test their patience.
It all begins like Shyamalan's 'Signs' movie with a family living surrounded by corn field. Then switches to 'The Astronaut Farmer' and going through 'Gravity', finally meets the 'Inception'. It was just a reference to call the movie setting that brings constant change for every half an hour. Like the opening scene and the end scene had over a 100 years difference.
As I earlier said it was the story of a family alongside the future of humankind and decoding universal mysteries through travelling in space and time. This movie would a reasonable for those who thought '2001: A Space Odyssey' is a boring piece, Cleverly written cinematic piece especially for science geeks. I don't know how perfect the movie to the actual present astrophysics, but will justify for the common people's capacity of understanding with an encourageable amount of commercial elements in it to entertain as well.
The first three quarters of the movie was well made. It puts me in a unblinkable position like a story was narrated by Brian Cox in a television series. Like I said, lots of astrophysics involved in it, but strangely human emotions were also exhibited equally that I never expected one from Nolan film. It was not an ordinary sentiment, but was strong enough to make a man cry for happy and sad situations in the movie. I liked science and emotion coming together. In fact, it saved the movie, otherwise it would have been a science documentary straight from NASA production through Nolan direction.
There are many surprise elements in the movie and of course there is a twist at the end. We can call it a series of twists like the layers. Compared to last quarter of the movie to the rest, it completely detaches which opens broadly to the different directions. And that happens so fast rushing towards the other end. Which give an impression of the movie 'Inception'. In a perfect way to say the first 75% was 'The Tree of Life' and the remains are 'Inception'.
‘‘This world's a treasure, but it's been telling us to leave for a while now.’’
All the actors were so good. Matthew McConaughey steals the show as he dominates the majority of the screen space in the story presentation. There's no ruling out the fine performance executions from Anne Hathaway and the young star from the Twilight movie, Mackenzie Foy. The remaining cast was having less scope which were like the guest appearances that was widened a little broader, but was perfectly fitted for the story. Especially Matt Damon's was the crucial one.
Remember the movie 'Contact', a lovely movie, which was ruined by its fictional ending. Something like that happened in this film as well. The story was initiated with a realistic approach with actual scientific contents as per the present understanding about the universe. But the end was let me down with the layered contents that kind of impossible to agree with it. As a cinematic theme it worked, yeah, a good solution for this wonderfully written story. We know that the time can't run backwards, so that's the trouble.
Anyway, this movie defines in a new way, I mean scientifically the existence of ghost. It was not a horror movie, but I liked supernatural force that merged with this science fiction theme. That explains and gives vast ideas to expand our physics beyond something and somewhere yet to reach. Hats off to the director, because he was not thinking of making money here. His idea was to implement what the humans are understood so far about the cosmos. And he very nicely transformed those into the silver screen with the blend of human emotions. In my opinion, this will replace '2001: A Space Odyssey' for sometime till another one make this way.
I could have not asked a better space travel drama than this, especially when I heard Nolan doing a science-fiction I believed he gonna rock it. He was so true to the science and the human feelings in this film. If you had seen enough movies before like this one, you can recall your memories like the Tom Hanks parts from 'Cloud Atlas'. But still independently stands strong and falls in a never seen before category.
‘‘Maybe we've spent too long trying to figure all this out with theory.’’
The end scene leaves a hint of a possible sequel. I would be happy if that happen in a near future, but definitely that would be a completely different cinema as per how this one ended. I know his fans want that to happen and so am I.
The visuals were not that great, but simply very good. To see those in digital 3D would have given us a different experience, sadly Nolan was not in favor of that technology. Hoping this movie would get as many as the Oscars nod. Especially not getting into the best motion picture shortlist would be a shame. Like I said I'm no one fan, I just love watching everyone's every movie. I would have went to see it again if it was converted into digital 3D, since I'm modern tech geek when it comes to the films.
It will become a talk of the week, perhaps month all over the world, so don't leave behind when your friends talk about it. What I gonna say is it is a must see asap if you are a movie fanatic like me otherwise Nolan movies does not need anyone's recommendation because his movies usually sell itself like the hot samosa. People seem to think that if you enjoy a Christopher Nolan movie, you are a fanboy and the film couldn't really be that good. That is not true. He has never made a bad movie, Insomnia is probably his worst and it is still an excellent movie. Interstellar is up there in his top 3, with The Dark Knight being number 1 and Inception in number 2. I don't think he will ever make a better movie than The Dark Knight, it is without a doubt a masterpiece of cinema in my opinion. It can be enjoyed on so many levels. I remember seeing Interstellar in the movie theater and being on the edge of my seat the whole time. It was breathtaking but the end left me confused so i walked out disappointed. Since then i have watched it many times but it only took a second viewing to realize what a great ending it is and here is why. How many people discuss the end, was the wormhole open or closed for him to make it to Brand, what happens next, is there a sequel. I discuss this with people who hate the movie and the debate will still last a good 30 minutes if not more without getting heated. It is a wonderful story told through the eyes of a genius film maker who deserves more than he receives, an oscar would be nice start. I read hat his next movie is to be released in July 2017, I can't wait to find out everything about it like i have since he began. If you're unsure about Christopher Nolan, watch his career from the beginning starting with Doodlebug. Another grandiloquent movie from Christoper Nolan.
The cast is good, and McConaughey performs a role made for himself. The photography is very nice but the movie commits all the same mistakes than previous Nolan's movies. I think mistakes but it may be that they are the points Nolan fans enjoy the most ...
* The story makes you believe it is a realy deeply thought plot but, in the end, it has so basic mistakes and stupidities that make it nonsensical. * There is a general ambience of every moment being epic; deep, solemn and smart dialogues but, at some point our highly trained engineer and pilot behaves really stupidly. * To keep the mentioned constant feeling of being in an epic moment, Nolan uses a thumping and insistent soundtrack. As it is not a moment, but a 3h movie, it is really tiresome.
All in all, the movie is OK but you can only think this is a great movie if you are a real Nolan fan. "Man kind was born on earth, it was never meant to die here."
IT has been two days since I watched it and I still can't get it out of my head. I can safely say that it has been a long LONG time since a movie had this much effect on me after watching it. And the only thing I can think of now is to somehow Re-Watch it again.
This movie was surprisingly different from Christopher Nolan's recent works because they had been great cinematic entertainment pieces catered to a wider audience with a blockbuster approach, this certainly didn't felt like that and hence the polarizing response it got. It is an ambitious project that is not meant to merely entertain, walk into it knowing that. I'll say this though, If it works for you, you'll be in heaven.
The premise of the movie is that Earth is no longer capable of supporting humans on it, we must find a new home to avoid extinction. This scenario is told from a very personal perspective and not from a Global scale like some sort of apocalyptic catastrophe disaster film. At the core of the movie is the Father-Daughter relationship. The movie takes its sweet time to develop it too.
Mathew McConaughey, not surprisingly, gives an amazing performance as the main lead. He really carries the film, some scenes were very emotional due to his great performance. The rest of the cast does a great job as well, especially the Daughter played by Meckenzie Foy. The One character that I never expected to be great was the robot TARS. He also acted as the source of the humor in the movie, well executed, timely and grounded.
Interstellar tackles a lot of themes, Survival, Humankind, Love, Time etc, out of which 'Time' had the biggest impact on me. With relativity being a big part in the film, the whole sequence about it just struck me very deeply and I found new respect for Time. I'm actually at a loss of words to describe it. Also, there is a lot science in it so it can be confusing for many and in Nolan's tradition, it also has twists and mind numbing ending, where the more you think about it, the more numbing it gets.
The visuals of this movie are breathtaking. Great cinematography and CGI. The depiction of wormholes and blackholes and other space entities were the best I have ever seen. They just suck you into the movie. Along with that, you get to listen to one of Hans Zimmer's best scores. The score not only felt personal, going perfectly with the movie, but also different from his recent works. There were times where combination of epic photography and soundtrack made the scenes timeless, like I was completely sucked into it and didn't had a clue about my surroundings. I didn't want those scenes to end.
Alas, the movie was not perfect. My biggest gripe with it is that the pacing and editing was off at times. Some scenes dragged on while others were cut far shorter. The beautiful views of space could have definitely benefited from a few seconds longer onscreen time. Also, I wished there was more space exploration in it.
With all the remakes, rehashes, reboots and sequels we are getting in these times, it is great to see original gems like these. This movie is definitely one of this year's best, one of Nolan's best work and one of the best movie I have seen in recent years.
9.5/10 This was my most anticipated film of 2014, and I was not disappointed.
The story was slightly difficult to follow on the first watch, but that was to be expected in a film dealing with complicated fields such as astrophysics and time dilation. Many didn't find its overall message - that love is the most powerful force in the universe which transcends space and time - to be very appealing, but I thought it was an interesting take on special relativity and how two people can be bound by a common feeling, even when they're in different parts of the universe at different times. I also thought the acting was believable, for the most part, and I didn't think anyone was miscast. I enjoyed the surprise appearance from a certain famous actor about halfway through.
But what really blew me away were the visuals and the soundtrack. I believe it was Quentin Tarantino who once said movies and music go hand in hand; that a moving image complimented by the right piece of music can create art. Well, the visuals in this film, which took my breath away, and the score, which perfectly captured the 'feel' of the cosmos and all its wonder, proved him right. I think this was Hans Zimmer's best work yet, and although I'm not Christopher Nolan's biggest fan, I will continue to follow his work if he can pull off more movies like this.
My only regret was not seeing this film in IMAX.
10/10 That this movie, at the time of writing this, holds an 8.8 rating at IMDb is simply beyond my understanding. Needless to say I did not really like this movie. The story is not very good, the science is ludicrous and the visuals not all that impressive. Maybe the latter would be better in a big theater (I watched this on my home cinema system which has a relatively large screen by European standards) but I am not really sure about that either.
Be warned that the rest of this review might contain a spoiler or two.
The movie starts of with the usual “I told you so” wet dream of the green fanatics on a dying Earth so it is off to a depressing start right away. That is an overused concept today as far as I am concerned. Then they pour it on with a school official claiming that he Apollo missions and moon landings never happened. What the f…? If they wanted to depress the audience right from the start they succeeded, at least with this audience.
The story proceeds with our heroes finding these gravity waves in the sand and by a huge stretch of imagination decrypts them to mean coordinates which leads them to the secret NASA base. Once there Cooper is told that he is their best choice of pilot for a “save the human race” mission through a wormhole. Yeah, right! This guy was former NASA. His whereabouts could hardly been unknown to them. If he was their best choice why would they entrust a mission to save the human race to someone else until he stumbled onto their door? Typical Hollywood nonsense!
The movie is full of this kind of rubbish. Romilly wastes 23 years of his life doing pretty much nothing except deciding not to go into the sleep capsule. The supposedly highly trained and vetted professor that they do find turns out to be a psychopath as well as and idiot almost blowing up the ship when trying to proceed with a docking that all the systems tells him have not succeeded. Then they proceed to dock with the main ship and stop its spin as well as bring it out of orbit around a planet with the shuttles engines. That is one hell of a powerful shuttle not to mention the strength of the docking mechanism! This just goes on. When someone is not doing something illogical or stupid (or both) they sit around talking, philosophizing and dragging the movie forward at snails pace. 169 minutes is way too much for this movie.
The movie ends up in one big time travel mess (okay they do not travel in time, just sends messages through time but still…) during a bunch of psychedelic scenes while traveling through the back hole. Science? Not so much. And what about this totally ludicrous massively illogical and inefficient robot design?
The one good thing I can say about this movie is that the performance of most of the actors, especially Matthew McConaughey, are quite good. For the rest, not my cup of tea. Again hit produced by christopher nolan after batman. Storyline is great and also the science theory is perfectly showcased. This might contain spoilers! --- Interstellar is my favorite movie. I'm really into space and everything about it, so this movie was my cup of tea. The soundtrack is the best of the movie. It points out flow of time, which is the most discussed issue in the movie. Special effects are breathtaking. Even with some small mistakes, it is pretty accurate and expectable. There is some visually pleasing cinematography too, including Saturn, the curvature of spacetime or majestic black hole, which is really satisfying. Some scenes are loud and thrilling, but some moments are so quiet, that you actually think, you are in space! The movie is long but gripping. The plot, although it's complicated, is told easily and understandably. But the end of the movie is difficult to understand, since it contains time loop and time travel at the same time, but if you listen carefully, you will get it. I watched the movie 7 times and I still enjoy it! "Do not go gentle into that good night; Old age should burn and rave at close of day. Rage, rage against the dying of the light".
The story is about a team of explorers undertakes the most important mission in human history; traveling beyond this galaxy to discover whether mankind has a future among the stars.
Christopher Nolan once said that 2001: A Space Odyssey was his all time favorite film and how he wanted to do a small tribute to he's next film. And then comes a movie called "Interstellar" that will put a smile on Kubrick face if he was alive today, because Interstellar is one of the best movie of 2014 and the best movie experience I've had at the cinema.
I saw this movie in IMAX and all through out this film I felt like I was in space floating around with Mconaughey and Anne Hathaway. I had that feeling that I was going deep into space just like are main character's, going deep into space just like the viewing auditions and me.
The visual effect's in this movie are some of the most stunning, beautiful and Jaw dropping effect's I've seen since 2001: A Space Odyssey. The performances were brilliant, The cinematography was breathtaking and hard to look away. The directing by Christopher Nolan and let me get this out there, this man is a true director; he knows cinema and knows how to interested people into seeing he's films and I'm still shocked that he hasn't won an Oscar yet.
Now most people or critics have said that last third of this movie ruined the movie for them, but I actually like the ending to the movie. It's new for Nolan because he always ends on a deep and cold note, but this movie didn't and I didn't mind it.
My only nick pick with the movie is some of the character's in this movie wasn't all that interesting. Matthew McConaughey, Anne Hathaway and Jessica Chastain are the only character's that to me were interesting and I cared for them, but the rest of the character's I didn't really care for.
Overall Interstellar is a mind-blowing movie with fantastic visual's, interesting story line and the movie will keep you interested till the end.
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Title : Tarzan Tarzan genre : Family, Adventure, Animation, Drama Tarzan crew : Scott Martin Gershin, Mary Hidalgo, Chris Ure, Mark Mancina, Bonnie Arnold, Per Hallberg, Stephen J. Anderson, Kevin Lima, Christopher Chase, Edgar Rice Burroughs Tarzan release date : 20 September 19 7 5 Tarzan runtime : 88 Minutes Tarzan Crew : Scott Martin Gershin, Mary Hidalgo, Chris Ure, Mark Mancina, Bonnie Arnold, Per Hallberg, Stephen J. Anderson, Kevin Lima, Christopher Chase, Edgar Rice Burroughs Tarzan movie cast : Tony Goldwyn, Minnie Driver, Glenn Close, Alex D. Linz, Rosie O'Donnell, Brian Blessed, Nigel Hawthorne, Lance Henriksen, Wayne Knight, Taylor Dempsey ========================ஜ۩۞۩ஜ==========================
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Tarzan was a small orphan who was raised by an ape named Kala since he was a child. He believed that this was his family, but on an expedition Jane Porter is rescued by Tarzan. He then finds out that he's human. Now Tarzan must make the decision as to which family he should belong to... Tarzan 1999 review : Tarzan swings through the iridescent jungle swiftly, ending Disney’s Renaissance era with wild exuberance. Two worlds, one family. An innocent little boy, approximately four-years old, was escorted for the first time to a cinema complex. Politely requesting a bucket of sweet polystyrene popcorn, he walked into the dimly lit auditorium scavenging for an appropriate seat that would maximise his film experience. The trailers initiated, suppressing the inner excitement of the full feature that was yet to commence. Then, it happened. The Disney logo emerged. It was time. A family surviving a shipwreck, colonising an uncharted jungle whilst the emphatic voice of Phil Collins powered the narrative. A leopard savaging a baby gorilla, then brutally slaying the English couple, leaving only their infant son crying. His sorrowful echoes reverberating through the rainforest, until a female gorilla acquires him. Adopting a human child. Tarzan. The four-year old, naive to the cruelty of nature, was transfixed by the colourful animation. The plethora of emotions. That pure Disney magic. It was the commencement of a new-founding love for cinema. An adoration he could never shake off again. Yes, that four-year old, was me.
Subjectively speaking, Tarzan is more than just another Disney classic from their animated library. Even more than just an adaptation of Burroughs’ epic. It was a trigger. A sweeping adventure that upheld every emotional resonance possible. The brooding romance between explorer Jane and fully-adolescent Tarzan. Thematically presenting ostracism through two interconnected species, conveying the “Two Worlds, One Family” conflict within Tarzan. Who we are raised to be and who we are truly meant to become. Comedic buoyancy through the supporting characters of Terk and Tantor, supplied with their own catchy rhythms. Dark antagonisms through Clayton’s treacherous hunting techniques, viewing gorillas as merchantable assets. An exploration into the vivacious rainforests of Africa. All culminating to form a wonderfully effervescent coming-of-age tale. One of Disney’s most overlooked, for sure.
The art direction is the strongest of the Renaissance period, combining traditional hand-drawn animation with pioneering three-dimensional backgrounds. Often incorporating visual montages to steer the narrative into the intended direction. Watercolour backdrops to enhance the naturalistic environment. Bright character designs to contrast the darkened background. Sublimely directed by Lima and Buck. Then, Phil Collins just being the legendary musician that he is, providing the tale with apathy and soul. The “Two Worlds” anthem, “You’ll be in my Heart” and “Strangers Like Me”. Mancina’s score actively preventing the characters from singing and turning into another unnecessary musical. As I said, subjectively I refuse to liken Tarzan to just another animation from the “House of Mouse”. It was my first cinema endeavour after all.
However, objectively, there are narrative stumbles. It’s the breeziest story, condensing an epic plot into less than ninety minutes. The most noticeable consequence of this, is the rushed editing on certain segments. The introductory two minutes is a whirlwind of emotional storytelling that, unfortunately, holds minimal foundations. The montages of Tarzan growing up also lacked narrative heft, providing nothing more than visual delights. Goldwyn, Close and O’Donnell had insufficient power within their voice roles. Although Driver and Blessed were delightful. And, as much as I adore the song, the repetitious reprises of “Two Worlds” throughout minimised lyrical diversity.
The entire story is told faster than a shotgun firing, but I refuse to shake my undying adoration for this feature. Tarzan was the film that made me the cinephile that I am today. If I hadn’t received that euphoric pleasure from the cinema back in ‘99, well, these amateur reviews probably would never have been written. Ever. So for that, Tarzan and Disney have my eternal gratitude. 'Tarzan' is one of those films that I had always assumed I had seen, though evidently I hadn't and this was my first time watching. It's a cracker!
Phil Collins' music is tremendous, it truly adds a lot to the film - "Son of Man", which I already knew about, is a great song which works very well with the montage. Some of the editing is rather sharp, while the animation is pleasing on the eye.
Tony Goldwyn (Tarzan) and Minnie Driver (Jane) suit their respective roles nicely, as do Glenn Close (Kala) and Brian Blessed (Clayton). Rosie O'Donnell is the one I enjoyed most, as she portrays Terk - which isn't really a massive character, yet O'Donnell makes her memorable.
It does feature things you've seen from earlier jungle based films, like 1967's 'The Jungle Book' and, as expected yet still amusingly, 1997's 'George of the Jungle'. The early scenes in-particular, which rely firmly on Collins' music - from the midway point it's more level, whilst also taking its own route with this type of story.
I'm interested to find out where the two follow-up films go.
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