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The Prince of Tides Review.
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The Prince of Tides
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- Amazon Sales Rank: #10212 in Movie
- Released on: 2007-03-20
- Rating: R (Restricted)
- Running time: 127 minutes
You did mama
Streisand’s semi-controversial adaptation of THE PRINCE OF TIDES may not have completely satisfied fans of the book, however, the general public fell instantly under the film’s hypnotic spell – and turned it into a surprise box office smash! The decision to keep the film’s focus in the present rather than the past results in the elimination of most of the novel’s lengthy backstory. However, the well-condensed script (written by Conroy himself and Becky Johnson) manages to seamlessly fill in the missing information, and allows all central characters to reach a level of character development that is unusually high for a mainstream Hollywood film. As the film progresses, these characters seem especially real, and they are embodied by an absolutely flawless cast.
As anyone who has read the book can attest, the characters of Tom and Lila Wingo would seem to be extremely challenging (if not almost unplayable) roles, both of which are brimming with contradictions and hidden emotions. However, Nick Nolte and Kate Neligan find the perfect balance in their portrayals, which earned them both well-dissevered Oscar nominations. Blythe Danner, Jason Gould, and Melinda Dillion all also turn in memorable performances, even though Dillion’s Savannah (a lead character in the novel) has precious little screentime due to the film’s structure. Barbra also gives an affecting portrayal, however, the director’s chair is where she really shines this time. With it’s moving storyline, compelling characters, and breathtakingly beautiful cinematography, THE PRINCE OF TIDES is film that will continue enchant audiences for years to come.
About the DVD: The picture quality and sound are excellent, although it’s disappointing that the many extras (which included a featurette, deleted scenes, a gag reel, and Streisand’s full-length commentary track) that were included on Criterion’s special edition laserdisc release are not found on this DVD. The film’s original trailer and teaser are included, but I hope that all of the extras from the laserdisc will someday make their way to DVD.
A Perfect Drama!
This is the perfect date movie, a drama so engrossing, so well acted and so lavishly produced that it doesn’t lose your attention throughout its long 132 minute run. Adapted from a best-selling novel of the same title by Pat Conroy (also author of “The Great Santini”), director and star Barbara Streisand has the support of the best ensemble cast one can imagine in delivering a superior movie. everyone included does a stllar job, from Nick Nolte as the protagonist and figure lovingly referred to in the title, Barbara as the psychiatrist who unravels the horrible mystery behind the protagonist’s family history, and a supporting cast that includes Bliythe Damnner as Nolte’s estranged wife, and George Carlin as the complex and interesting gay neighbor to Nolte’s kid sister in New York.
This is a wonderful film, one that dances back and forth in time, that does an unusually good job at translating a complex and convoluted story to the screen quite magically, and one that is not only plausible but also breath-taking in its import and seriousness. One comes away recognizing the growth in Nolte’s character and applauding the way the whole story fits together and is so believable. I save this one for rainy Friday nights, when I want to escape from the humdrum of a workweek gone bad. I can highly recommend it, and know you will come to love it, too. Enjoy!
Barbra Streisand — Queen of Tides
Actually, the sentence in the title is not mine; the author of the book Pat Conroy was so grateful for the film that he gave the director such a name…
Conroy must have realised limitations of a film in comparison with the book. “The Prince of Tides” book is rather thick and to make a two-hour movie out of it is difficult. The film “Cider House Rules” was also criticised of being too thin in comparison with the book — and, in fact, the author John Irving himself wrote the script.
Romantic side is highlighted over a complex, dark family story, with Streisand enjoying the starring female role to the full. She does so alongside the great performance by Nick Nolte, who plays Tom Wingo, a teacher from American South hiding much of his painful past until he gets familiar with New York psychiatrist Susan Lowenstein (Streisand).
The film love story between Wingo and Lowenstein is one of the most memorable of the past decades, yet the picture also encompasses deep social undertones — suicide, hypocrisy, lack of family understanding. There is a couple of memorable scenes; the most special one comes when Wingo finally lets the demons of the past out — this is acting at its best on both Nolte’s and Streisand’s part. Although some other films also attempted something similar (e.g. “Good Will Hunting”, with Matt Damon and Robin Williams), it never was so powerful as here. The ending is bittersweet, not typically romantic but ultimately inevitable and logical for the story.
Beautiful cinematography and great musical score to a large extent made this film to achieve five stars in my book. I know I will keep on returning to “The Prince of Tides” video.
The Remains of the Day Movie Streaming
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The Remains of the Day Movie Streaming.
Movie Title: The Remains of the Day The Remains of the Day is available for streaming or downloading. |
This Merchant Ivory masterpiece is a must-own DVD: not only if you are intrigued by the labyrinthine world of English genteel lifestyles (butlers, under-butlers, footmen and the like), or some graceful British dialogue, but if you savor an understated cinematic experience that calm stirs emotion and circumspection comparable to that provoked by the written word.
Anthony Hopkins and Emma Thompson play the dignified servants of a manor between the walls of which “astronomical affairs of the world are decided.” Both had me in their clutches at the very outset (position against the backdrop of the English countryside and exquisitely complimented by the music of Richard Robbins) and never let go. I was also somewhat surprised to gaze an early Hugh Grant and a young Ben Chaplin — both before they became illustrious, and you can gawk why they got where they are today.
Each and every shroud of the movie is riveting, and all characters play their parts impeccably. With the possible exception perhaps of Christopher Reeves’ character — the brazen, world-saving American who calls other European topdog politicians “amateurs.” Yet, thats a minor gripe, and entirely overshadowed by Anthony Hopkins who so subtly reveals all the feelings that his character works so hard to repress that the afflict is almost palpable.
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There is also a nuanced romantic subplot, nothing is ever shown in somatic expressions of hugging and kissing, yet the tension between Hopkins and Thomson is one of the most memorable you will ever study. Unrequited fancy, was it?
The average moviegoer might net the film wearisome, but anyone fervent in watching grand actors excelling at their craft will be mesmerized!
Highly recommended!
Arguably Remains of the Day is the finest Mechant/Ivory film ever made. Anthony Hopkins delivers perhaps his finest performance with an fine ensemble cast that includes co-star Emma Thompson and James Fox. You’ll also behold Christopher Reeve and newcomer Hugh Grant on board.
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Merchant/Ivory films are often too precious and too tastefully presented to accept overly furious about. Despite how fair they may eye, I often collect myself restless and then unsatisfied with their films that are often too stuffy and airless to ever experience more than once.
Remains of the Day is a puny masterpiece of a film — A astonishing character recognize and period drama worth advise viewings.
The anecdote is wonderfully framed in the expose day of the 1950′s, which sets the mood to relish the film’s gorgeous earlier period details. The film’s stuffiness is natural because the account centers around the James Stevens (Anthony Hopkins) a butler who has takes titanic pride in being in complete servitude to his employer Lord Darlington (James Fox) and the mountainous English country home he attends to.
Most of the film concerns itself with the unhurried 1930′s and early 1940′s during World War 2 and Stevens’ recollections are centered around his very valid relationship with Sally Kenton (Emma Thompson) who worked as a domestic in the home along with him for many years. Perhaps he can convince the unique indicate day owners of the manor and to let Sally Kenton again work with him once again.
Kenton and Stevens’ made a grand Domestic team, Stevens’ recalls. In flashback we look Steven’s life working as a butler for Lord Darlington and watching some of the influential politicians, Lords and ladies pass through the manor hallways.
Hopkins’ performance is one to indulge in and observe. His every inflection, recognize, and expression carries several meanings. The longing he feels for Sally must be suppressed to design his tasks to the utmost of perfection and Sally’s personal feelings for Stevens must like-wise be held in check because they are first and foremost devoted to their duties. They fragment a perfectionism and devotion to their work that nothing is allowed interfere with.
If the film sounds dumb and stiff, let me thunder you that this is a film of such grace, beauty and approach perfection that it will haunt you for several years. You will focus on the smallest of details in the film and be richly rewarded for taking the time to do so.
The film is rich in period details (the cinematographer was Tony Pierce-Roberts) and offers an impeccable production build by Luciana Arrighi (“Anna and the King”), residence decoration by Ian Whittaker (Anna and the King) and wonderfully re-created period costumes by Jenny Beavan and John Incandescent.
You won’t forget the performances of Anthony Hopkins or Emma Thompson in Remains of the Day.
DVD STUFF
“Remains of the Day” is presented in 2.35:1 anamorphic widescreen. A few minutes worth of minor print flaws and very occasional visible edge enhancements are the only minor drawbacks of this high quality presentation of the film. The characterize is attractive and crisp, dim levels are strong and colors are rich.
The soundtrack of the film is presented in Dolby Digital 5.1 though most of the audio is front and center. The catch is allowed to breathe around the room a bit but there is very runt in the blueprint of ambient noises of sound effects indicate which could have taken advantage of the the surround sound possibilities. No hisses or pops of noticeable distraction are demonstrate.
DVD EXTRAS:
Plentiful extras include an unique 29 runt short documentary: The Remains of the Day: A Filmakers dart. Crew and cast members along with novelist Kazuo Ishiguro, producers Ismail Merchant and John Calley, director James Ivory and composer Richard Robbins disucss the making of the film. Stars featured include Hopkins, Thompson, Fox, and Reeve who offer some criticism of their performances and high praise for the work of their fellow cast members and the director. It’s a love-fest but one that has some restraint and gives some gripping slow the scenes details of interest particularly in how the period details were recreated so beautifully.
There’s a 15 microscopic featurette which examines the snarl of appeasement and how the attitude was partially responsible for allowing Hitler and Germany to become so considerable.
The 28 and a half petite HBO leisurely the scenes special from 1993 is more promotional in nature but of interest which features scenes for the film, late the scenes footage and interviews.
3 deleted scenes can be viewed with or without optional commentary. They are presented in the launch matte style which means viewers can peek things like the speak mikes which are normally cropped out of the recount. Many will gain this particularly tantalizing which is why James Ivory wanted to prove the deleted scenes in this manner.
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The commentary track on Remains of the Day is better than most. There are some long pauses in the commentary and some of it duplicates the information that is discussed on the documentaries. There are also many minutes over the course of commentary devoted to participants complimenting each other and those alive to in the production. Emma Thompson is at times very laughable, and livens things up when they acquire a exiguous too dumb and dry. Mechant, Ivory and Thompson provide an informative detailed and worthwhile feature length commentary to the film.
Remains of the Day is dazzling cramped masterpiece which features some extraordinary acting. The film is rich with details and the DVD is packed with worthwhile extras which makes this a Special Edition DVD very mighty worth adding to your collection. .
Christopher Jarmick, is the author of The Glass Cocoon with Serena F. Holder a critically acclaimed, steamy suspense thriller.
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Bonhoeffer: Agent of Grace Review.
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Bonhoeffer: Agent of Grace
Product: Bonhoeffer: Agent of Grace Review. List Price: —- Amazon Price: $1.99 Add to cart to see low price@ Availability: In Stock Usually ships in 24 Hours Free Shipping Available |
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- Amazon Sales Rank: #16147 in Movie
- Released on: 2009-07-27
- Running time: 86 minutes
Dietrich Bonhoeffer: Agent of Grace
I recently purchased this DVD from Amazon, because I’m a fan of Director Eric Till’s great movie “Luther”. To be honest, I had never even heard of Dietrich Bonhoeffer before and I knew very little about the underground German resistance to Adolf Hitler in WW2. Till’s movie raises an interesting dilemma, what is a religious person who believes that our elected leaders were placed over us by God do in a time savage immorality? Bonhoeffer, a Lutheran Minister, could have fled Germany to safety; but instead, chose to actively oppose Hitler. I was amazed at how Bonhoeffer kept his faith in his Savior, Jesus Christ, while his world was crumbling around him. Till’s effort portrays a man who continued to minister to the needs of others while others would have quit — myself included. Bonhoeffer: Agent of Grace won the Best Film Award at the Monte Carlo Television Festival in 2000. I highly recommend this movie.
haunting
This made-for-TV movie quietly made an appearance on PBS several years ago and then disappeared, but may now be kicking around on the
shelf at your local library, or just maybe at your video store. You’d do well to look and see if you can find it, because in its unassuming way it
is a powerful exploration of the particular duty of good people when evil prevails and a testament to the life and death of one remarkable man.
Dietrich Bonhoeffer was a leading Protestant theologian who returned home to Germany from the United States when World War II began,
writing to Reinhold Niebuhr :
I must live through this difficult period of our national history with the Christian people of Germany.
Once home, though a pacifist, he reluctantly became involved in various anti-Nazi activities, eventually even participating in a plot to
assassinate Hitler, which obviously failed. He justified this course of action because :
I believe it is worse to be evil than to do evil.
Bonhoeffer was arrested on April 5, 1943, but when authorities could not determine how deeply involved he was, they simply held him without
charges or trial and it seemed possible he eventually might be released. During his time in prison, he wrote a series of remarkable, often
heartbreaking, letters. If Anne Frank affects us with her innocence and our sense of a life unlived, Bonhoffer first saddens us with the hopeful
tone of his early letters and then awes us by the serenity with which he faces the prospect of his own death.
The film tells this whole story, but does so in rather scattershot fashion. Unless you know the story ahead of time, it is often difficult to tell
precisely what is going on and how all the characters and situations relate to one another. There are also a few unfortunate liberties taken with
the story–liberties that do not make the film more understandable but less–the most perplexing of which is the decision to make Bonhoeffer’s
teenage fiancé seem quite ditzy. This makes it hard to imagine what Bonhoffer saw in her, other than youth, beauty, and availability, and, I
thought, gave their relationship an almost creepy quality. From what I’ve been able to find in reading about them, she was actually quite
intelligent.
At any rate, the film is more than redeemed by its final scenes, leading up to Bonhoeffer’s execution. In October 1944, the Nazis finally
uncovered evidence that revealed the extent of Bonhoeffer’s involvement in subterfuge and he was at last tried and sentenced to death. He was
hanged on April 9, 1945, just a month before Germany surrendered (May 8th). A doctor at Flossenburg prison, who witnessed the execution,
described it thus :
Through the half-open door in one room of the huts I saw Pastor Bonhoeffer, before taking off his prison garb, kneeling
on the floor praying fervently to his God. I was most deeply moved by the way this lovable man prayed, so devout and
so certain that God heard his prayer. At the place of execution, he again said a short prayer and then climbed the steps
to the gallows, brave and composed. His death ensued after a few seconds. In almost fifty years that I worked as a doctor,
I have hardly ever seen a man die so entirely submissive to the will of God.
We do not get all of this in the movie, but we do see Bonhoeffer walking naked to the gallows. I hope that I can say precisely what I mean
here, without giving offense, but in the concentration camp footage we were shown in school there was something dehumanized about the
victims–first, because they appear in black and white; second, because they are so emaciated as to be barely recognizable as fellow humans;
third, because there are just so mind-numbingly many of them. But in this scene, Ulrich Tukur, playing Bonhoeffer, is obviously and achingly
human–pale, doughy, naked, and defenseless. Yet he carries himself with a poise and a calm that cows the vile Nazi prosecutor who has come
to sate his own bloodthirst. More than that though, the viewer too is humbled by the dignity and serenity that is portrayed here.
The writer Andrew Delbanco has said that, “belief is really not an option for thinking people today.” Never mind anything else about this
provocative statement; consider just this aspect : Dietrich Bonhoeffer went to face death “certain that God heard his prayer” and so died a man
at peace. His life and his death still speak to us today. How will those who believe in nothing, who are certain of nothing, face their imminent
deaths? Who will wish to tell the tale of their futile rage against the dying of the light?
Likewise, consider the other phrase the doctor used : “entirely submissive to the will of God”. Bonhoeffer’s faith assured him that even his
death, especially his death, served God’s purposes. If, for the faithless, Man is the measure of all things, then what purpose can a man’s death
serve? Is it not always, necessarily a catastrophe beyond redemption? What have men who believe in their own sufficiency really gained in
freeing themselves from submission to God’s will, if in exchange their lives become meaningless and their inevitable deaths disastrous?
Without being blasphemous or overdramatic here, there are obvious parallels to the life of Christ in Bonhoeffer’s march toward death and they
add to our sense of him as the quintessential modern martyr. None of this is meant to suggest that Bonhoeffer is any more deserving of honor
than the tens of millions of totalitarianism’s other 20th Century victims, but as it happens we know more of his life and death, and of his
struggle to remain true to himself and his God in the face of overwhelming evil, than we know of most of the others, and that the record he
managed to leave behind convinces us that his struggle, his life, and his death are worthy of memory. In one of the many bitter ironies that
litter Bonhoeffer’s biography, he began his book, Ethics, with the foreboding line :
When Christ calls a man he bids him come and die.
The manner in which Dietrich Bonhoeffer heeded this call, despite, or because of, his understanding of how it must end, makes, despite some
weaknesses, for an extraordinarily powerful and moving film. I am haunted by its final images.
GRADE : A-
A Worthy Biography
Dietrich Bonhoeffer, author of Ethics, The Cost of Discipleship, and Life Together (to name but a few) embodied the commitment that the Christian makes to incarnate grace and peace. The paradox of his life, a pacifist who engages in an attempt to assasinate Adolf Hitler, is presented well leaving the moral ambiguities of his decision to the viewer to contemplate. What I found most useful was the human story of Bonhoeffer, presenting this modern Lutheran martyr in a human light as a pastor and friend. This biography will serve well as an introduction to Bonhoeffer the man and will hopefully inspire the viewer to read Bonhoeffer’s works.
Stream Bleach, Volume 1: The Substitute Online
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Stream Bleach, Volume 1: The Substitute Online.
Movie Title: Bleach, Volume 1: The Substitute Bleach, Volume 1: The Substitute is available for streaming or downloading. Click Here to Stream or Download Bleach, Volume 1: The Substitute |
Yet another juggernaut has made its design across the Pacific – and this time, it has attitude. Another mega-hit manga adapted into a mega-hit Anime series, Bleach brings a whole fresh definition to the word “Action-Adventure” – and does it with style.
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Young Anime artist Kubo Noriaki’s (also known as “Kubotite”) “Bleach” is the epic of 15-year passe Ichigo Kurosaki, who is ANYTHING but an ordinary high-school student. Possessing superhuman “Reiatsu” (loosely translated as “spirit force/ability”), he has the ability to ogle and communicate with Spirits of the recently deceased. However, Ichigo’s life is changed forever when an evil-spirit, a “Hollow” threatens his family and friends. In the process, he encounters a young Soul Reaper named Rukia, who after being gravely wounded, entrusts Ichigo with her powers. Becoming a “substitute”, Ichigo unwittingly receives the task of performing Rukia’s duties on Earth, which include vanquishing Hollows, and “burying” edifying spirits by sending them to “Soul Society” (a kind of Japanese “Heaven”) . And so begins the saga of Ichigo Kurosaki, Substitute Soul Reaper.
Considering the spacious fan-base in the US, as well as Japan, it seemed as though it was only a matter of time that “Bleach” The Anime made it overseas. Already a major hit with internet viewers, as well as a best-selling translated-English manga, Bleach takes mature Japanese culture and heritage and sends it smashing into heroic, hip, fresh style – and with surprisingly incredible results. Almost every character in Bleach is sharp, developed, and well-defined. Writing is grand, and viewers will certainly pick up themselves gasping in panic one moment, and breaking out laughing the next.
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Refreshing, novel, and genre-defining, Bleach is a gem among 21st century Anime. Although a uniquely Japanese anime, this explain should point to to fetch over even the most skeptical viewers in the States – as long as you remember not to believe a book by its bleached mask.
I have always been an anime fan as it was a natural progression from my Transformers and to a lesser extent Voltron days. Japanese anime seemed to be the next logical step. Maybe each year I go through one series or two series for my anime fix. And I admit that some series hasn’t lasted more than 5 shows with me. To me anime is meant to display you some action that can’t be done with film (like Gundam), imaginative (Evangelion or even the manga Death Impress), or droll (Slam Dunk, Dragon Ball, 10 episodes out of like 200 for Naruto), and definitely have that impress of suspense.
Bleach has everything in an absolutely brilliantly written state line. It has more characters than any anime I have ever seen and the writer made it so well integrated with the tale line that the record doesn’t miss a beat or leave a moment of confusion. There is no other anime that can introduce a cast of so many characters without feeling any slowdown. The main character is firmly established, but the side characters add to the drama, suspense, action, and can be so humorous that suffers of asthma should consult their doctors before watching or unbiased bear your inhaler really discontinuance.
So addictive it makes you curse the bustle at which your dvd player will commence to save in the next disk or the fact that you have to wash your hands after you pee. And I thank god that for most of the episodes out so far there isn’t that annoying 2-10 mins of flashbacks each episode so you DON’T feel like the fable isn’t attractive mercurial enough and unlike other animes feel that the insensible producers were too idle to earn any valid progress in the reveal. If anything sometimes I felt the epic was provocative too rapid since I was hoping this series wouldn’t demolish too soon.
Perhaps I am coming off as over zealous for a single series and a rabid ANIME fan. But the thing is I am not. I enjoy probably about 1300 DVD’s with only 12 of those 1300 dvd’s anime dvd’s. Out of those dvd’s I probably only contemplate 100-200 movies multiple times. So far I have watched the first 90 episodes of Bleach two times as the author really broke the mold with this series by including everything, the action, the suspense of reality, the comedy, the perambulate jerking moments, and a storyline that has some serious ambition to finally assume down the outmoded powerhouses that stand today (sadly I must admit I am watching the series the third time to indicate my girlfriend’s brother, but now I honest seem to marvel at the record line and anticipate the moments I know are coming.)
And I admit that I am even maybe a closet anime fan as I normally don’t disclose the girls I date I observe the stuff, but this was so beneficial I got my girlfriend who has never watched an anime before in her life because of the “dork” factor addicted to Bleach.
My only complaint is the new chronicle arc (around the last 20 episodes) seems to fair be dragging out the narrative to milk the air time and profit for a series that hopefully ends with the bang the first 90 started. (has a total of 114 episodes released to date in Japan)
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Friday Night Lights Streaming
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Friday Night Lights Streaming.
Movie Title: Friday Night Lights Friday Night Lights is available for streaming or downloading. |
My Gawd, I savor football.
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‘Tis a sport that offers the purest microcosm of life: Play as a team–succeed; play as individuals–fail. Those of us who have strapped on the pads and grunted and groaned in the trenches know this incontrovertible truth all too well. A single unit is powerful greater than the sum of all its individual parts, and this stellar truism is manifested magnificently in Peter Berg’s sensational film FRIDAY NIGHT LIGHTS.
Again, I treasure football, and I particularly delight in football movies that recall the grit and shaded hubris of the sport, but this film stands alone in its overwhelming ability to recount a game, a west Texas town, its residents, its players, and its shameless addiction to the gridiron to a degree that transcends every single facet of human existence. In a community intoxicated with football, in a culture intoxicated with football, in an infrastructure that lives, eats, breaths, and sleeps football, the 1988 Odessa Permian Panthers are about to embark on a spectacular odyssey that will catapult and savor them at the same time: a magical, mystical season taking the coaches and players up and down the peaks and valleys of high school sports nirvana.
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This is a film that garners attention to itself for infinite reasons. A vast epic, based on a bestselling book. Cinematography second to none, thanks to Tobias A. Schliessler, that gives the movie its gritty, handheld, “documentary” feel. A fast-paced, action-packed, totally believable series of scenes, augmented by an absolute killer soundtrack. And acting–oh yes, some very convincing, authentic, been-there-done-that acting.
As ample as this film is, it is enhanced by the talents of the players who bring west Texas football to life before our very eyes: Lucas Dark as a scowling, brooding, ultimately disquieted quarterback Mike Winchell; Derek Luke as the budding NFL superstar “Boobie” Miles, whose knee injury derails his career and summons one of the most poignant scenes in the film; Jay Hernandez as trusty, first-rate Brian Chavez; and Billy Bob Thornton as Coach Gary Gaines. Thornton is a gifted actor, but this is perhaps his best role, as he portrays a man obsessed with getting his team to the pinnacle of success–yet disgusted with the one-dimensional, win-at-all-costs mentality of his novel gig. Thornton is flawless; he does exceptional work.
Three other characters moved me, and moved me considerably. Perhaps, because I can readily identify with all of them. Garrett Hedlund plays Odessa tailback Don Billingsley–a haunted soul because his father, a passe jock (Tim McGraw) refuses to glean his son’s perceived inattentiveness and does nothing more than relive his enjoy glory days two decades before. I know so many men who suffer exactly from the same malady, and could readily identify with the character, despite his shortcomings. Yet, at the extinguish of the film, when alarmed father and son reconcile problematically, I was very mighty affected.
Finally, I identified with “Preacher,” the stoic, quiet, solid defensive kill from Permian, played by a somber-faced Lee Jackson. He went through the hell of two-a-days, saying nothing. He went through the trials and tribulations of the regular season, saying nothing. He saw games won, games lost, players arrive, players go, but level-headed his choose was not shaken, and at last–during halftime of Permian’s game against very formidable Dallas Carter for the set championship–he released his fury and grief to his teammates to fight and scrap and persevere, the character rose above the din and ruckus to show, very admirably, how sports is, once again, a dazzling microcosm of life.
FRIDAY NIGHT LIGHTS is a whirling Texas twister of entertainment. The film is priceless; the DVD extras distinguished. This product is quality entertainment, top to bottom. Highly, highly, highly recommended.
–D. Mikels, author, WALK-ON
I live in Minnesota, where high school hockey is the situation religion and the factual of passage for seniors is to go to the Residence Tournament, even if there school does not form it that far. Parents (not unbiased fathers) send their sons to live in other school districts so they can acquire more playing time or play with a better team. Everyone who has seen “Hoosiers” know that in Indiana it is high school basketball that is the subject of such devotion, but if you needed to perceive “Friday Night Lights” to know that neither of those residence religions holds a candle to high school football in Texas, then you are impartial not a just sports fan. Even before H.G. Bissinger’s Pulitzer Prize winning book, “Friday Night Lights: A Town, a Team and a Dream,” I knew the people of West Texas took their high school football seriously (I lived in Recent Mexico when I went to high school, so it would have been hard not to look) .
Director Peter Berg’s film version of “Friday Night Lights” is based on the good legend of the Odessa-Permian Panthers and their 1988 season. What “good” means in this case is that the name of the coach and the key players are fair, as are the number of losses the Panthers had that year (although the scores are different, as is one of the opponents) . Overall, the film avoids going Hollywood until the final game, which does manage to be accurate to the spirit of the film even if it requires a boring play call to encourage things along (I am sorry, but if it is 4th down and half the length of a football to go, and your offensive line outweighs the defense by at least 50 pounds a person, you call a quarterback sneak and derive a least a yard more than you need unprejudiced by firing off the ball; at least, that is what my father has always told me and since he played college football for an undefeated team, Trinity in Connecticut, I tend to listen to him) .
This film affirms, for the upteenth time, that the main thing horrible with sports spirited kids are the adults, either in the produce of the parents, or the concerned citizens whose attend of coach is based primarily on the net of the last game. The prototypical parent in this myth is Charles Billingsley (Tim McGraw), who has his status championship ring and makes it sure that his son, Don (Garrett Hedlund), will be a failure if he does not do the same. Unfortunately, Don has a tendency to fumble, so Charles has no spot going down onto the field during practice to residence the boy straight. Is Don playing football for his dad or despite his dad? There is no easy reply to that ask, because life, family, and football are all wrapped up together in Odessa, Texas. The town might be mired in an economic depression, but that does not conclude them from having a football stadium bigger than what some colleges and universities luxuriate in.
Coach Gary Gaines (Billy Bob Thornton) is supposed to go undefeated and salvage the space championship. Perham has done this four times before, in 1965, 1976, 1980, and 1984. Apparently they have a four year reduce rotation program going and everybody in town can do the math to figure out 1988 is going to be the year. When the Boobie Miles (Derek Luke) the star running encourage gets pain the coach gets the blame even though it is sure, like in a classic Greek tragedy, that the Fates are punishing the sin of hubris. Boobie is all ready to expend his money for playing in the NFL and he has not even picked a college yet. Basking in his stardom, Boobie gladly admits to reporters that he gets straight A’s because he is an athlete and as he leaves defenders in the wake of his sweet moves you can understand why he is the most valuable play for Permian. But the goddess of mischief hides the helmet of his backup Chris Comer (Lee Thompson Young), and everybody knows that when you are running the procure up and withhold your superstar in the game, somebody is going to go gunning for him.
There are several key factors that compose “Friday Night Lights” work. The first is Thornton’s performance, which is yet another reminder that he is one of the finest film actors around today. His Coach Gaines goes between moments of screaming at his players in the expansive tradition of football coaches going succor to Knute Rockne and beyond and measured silences as he endures another rabid fan excoriating him on talk radio or the “For Sale” signs that have sprung up in his front yard after a loss. But there are also moments when the speaks from the heart, whether it is to his quarterback, Mike Winchell (Lucas Dusky) in the squalid home the kid shares with his mentally insecure mother (Connie Cooper), or the final halftime speech to his team. What distinguishes Gaines from every other man in the sage is that he knows that in the destroy, football is honest a game. He unprejudiced has to be careful about who he shares this particular bit of wisdom with during the season.
Berg makes a knowing decision to shoot this legend as if it were a documentary. This works well in the extended game sequences, but suits the rest of the film as well, which is vital because the most critical moments in “Friday Night Lights” advance at other times. Some of the best scenes steal site away from the lighted field as Boobie and his uncle (Grover Coulson) deal with the disappearance of the dream during a visit to a doctor, when the garbage truck makes it rounds, and when the kid cleans out his locker. This leads to the third key factor, which is that we care about the kids that the epic focuses on, including the still “Preacher” (Lee Jackson) and the kid who is going to Harvard to become a lawyer, Brain Chavez (Jay Hernandez) . We do not care about the fans or the families or the rest of the town, unbiased the kids, and their performances match those of Thornton in providing a realism that we fair do not pick up in most of the films in the sports genre.
I really liked this movie until the waste, where the action and the emotions smack too powerful of Hollywood, not to mention David versus Goliath, than what had been established up to that point. Peaceful, in the waste Berg focuses exactly where he should, on the kids who have finished their high school football careers and the coach who has to immediately inaugurate planning for next year, when Odessa-Permian would again undertake the sacred quest for perfection.
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Watch Conversations With God Online
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Watch Conversations With God Online.
Movie Title: Conversations With God Conversations With God is available for streaming or downloading. |
“Do you *really* want to know the answers to the questions you’re asking? ” – God (from the movie)
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In 1990, a man named Neale Donald Walsch experienced a car accident resulting in a broken neck, which propelled him into a downward spiral of job loss, poverty, and homelessness. Eventually, he began to ask existential questions that many people ask, “What is the meaning of life? Why am I here? ”
In 1995, he heard a train asking, “Have you had enough yet? Are you ready now? ”
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God had advance calling to retort those questions–and many more. This quiz and acknowledge format served as the basis for the Conversations with God series, as well as the books What God Wants and Home with God.
Conversations with God the movie dramatizes events leading up to those mystical dictations, flashing assist to Neale’s struggles with finding a job–and even finding food in alleyway dumpsters. Alone and with minimal personal belongings, Neale lived in a tent, scrounged soda cans for money, and pounded the pavement in the hopes of securing a stable job.
Slowly, things launch looking up when he gets a job as a weekend DJ and finds a decent area to live. But when the radio state becomes bankrupt, Neale begins to write down his frustrations and questions–and the results were an unbelievable gift to humanity.
I admit, after seeing the debacle Indigo (which starred Neale Donald Walsch), I didn’t have high hopes for this movie. However, not only was I very surprised at the quality of Conversations with God, I was deeply moved. (And it was a Divine touch I sorely needed at the time.)
I was unaware of Neale’s background until I watched this movie, and realizing what he had reach through made his books even more meaningful. Stephen Simon, the co-founder of the Spiritual Cinema Circle and director of Somewhere in Time and What Dreams May Arrive, also directed the CWG movie.
The musical earn was comely and engrossing, as was the cinematography. The writing was tight, with no word wasted, and the performances were truly satisfactory. Henry Czerny gave an incredibly proper portrayal as Neale–even capturing Neale’s mannerisms and speech patterns. The supporting cast was also astounding–so props to the casting director, too!
At times astounding heartbreaking, Conversations with God can disappear you closer to your bear divinity, encouraging you to realize that you’re the one you’ve been waiting for…and that God will never leave you or forsake you.
Here are but a few wise nuggets from the movie:
“Instead of worrying about what people reflect about you–concentrate on what YOU reflect of you.”
“Don’t disqualify or marginalize the message because the messenger is fallible.”
“What is God’s most significant message to humanity? `You’ve got me all evil.’”
“My most celebrated communication is through feeling. Feeling is the language of the soul. If you want to know what’s proper for you about something, peruse to how you’re feeling about it.”
“A life without expectations of specific results–that’s freedom.”
“Ask what would like do now and I’ll be there always–in all ways.”
“I am not concerned about your worldly success…only you are. You are not to concern about making a living. Proper masters are those who have chosen to gain a life–not a living. Go ahead–do whatever you really admire. Do nothing else! You have so runt time. Why would you want to destroy it doing something you don’t want to do? That isn’t a living–it’s a DYING.”
I found the Conversations with God DVD quite synchronistic. At one point, a request about personal direction popped into my head–and the phrase about worldly success answered it specifically…mere seconds later! Several times, I was moved to tears–and I was grateful for the reminder that God is as finish as our breath–and that answers are readily available to our most personal questions. (Truth be told, it’s more like I bawled my eyes out–especially during the last few minutes of the movie.)
Although I rented this movie through NetFlix, I loved it so great that I’m buying a copy through Amazon.com. It’s definitely a movie to grasp, especially since there are so many levels of meaning and wisdom found throughout.
Poignant, surprising, but ultimately soaring with inspiration, the Conversations with God movie arrived at the perfect time in my life. After reading several of Neale’s books, it was intelligent to reach to understand what he had been through prior to his revelations–and how this all-too-human vessel came to channel profound wisdom that has changed thousands of lives over the last decade.
Janet Boyer, author of The Help in Time Tarot Book: Portray the Past, Experience the Cards, Understand the Expose (coming Descend 2008 from Hampton Roads Publishing)
This film was billed as being based on the “Conversations with God” books but the reality is that this film is the life record of author Neale Donald Walsch from homelessness to best selling author. When the “conversation with God” does near, it’s halfway through the movie and lasts all of about 10 minutes, and it’s more of a lecture than a “conversation.” Though making a film of those books would be nearly impossible, I had hopes that someone’s creative genius would arrive up with a blueprint to translate the ideas of the book series into relatable situations, puny dramatic examples sprinkled throughout the film. I did not ask what came across as a vanity project on the fraction of Neale Donald Walsch to have his life fable played out on shroud.
Having said that, aside from the mistitle and claims, the film does do something rare that most films don’t cover: homelessness. We rarely gape homelessness in films and this film humanizes the very people we often pass on the street without a word or recognize. This film also shows a lot of Oregon, with scenes in Portland and Ashland. And I absolutely adored the cute, quirky redhead young lady on the bus. There are some spiritual gems in this film, particularly the phrase one should always ask oneself: “what would cherish do now? ”
While I’m inclined to give this film 3 stars, I mediate it’s huge that more spiritual films are being made and want to benefit the development of that genre of films by supporting films like these, no matter how worthy they can be improved upon. I certainly wish that “CWG” would have been a noteworthy different movie or advertised more as a bio-pic than being an adaptation of the book series. The films “Unruffled Warrior” and “The Celestine Prophecy” were better done, but I unruffled did scamper away from the theater inspired by this film and it made me feel more compassionate towards homeless people, which Portland has a lot of, so it can’t be all dreadful.
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Last Year at Marienbad Movie Streaming
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Last Year at Marienbad Movie Streaming.
Movie Title: Last Year at Marienbad Last Year at Marienbad is available for streaming or downloading. |
Last Year at Marienbad is a “adore anecdote,” although not a “sage” in the musty myth sense, since the fragmented images cannot be scanned chronologically. The “epic” is not told rather it is described using a juxtaposition of physical images, through memories and associations, projected through a space-time continuum, which destroys both linear chronology and fixity. Resnais built a piquant puzzle-like film, a labyrinth, which at time resembles the optical illusions of Escher or the surreal world of Magritte. Any attempt to provide a satisfying chronology for the film would contradict the assumptions upon which it was built, as well as the manner in which it is presented.
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Marienbad is a cine-roman, a cinematic modern, that is, a particular draw to instruct a account, which by definition involves state and time. It is not simultaneously a modern and a film, but it uses positive techniques of the modern and of the cinema. Resnais uses a variety of cinematographic techniques: the consume of “atmosphere,” or mise-en-scene, to provoke an emotional response on the audience’s part; the exhaust of “dream” sequences, flashbacks and flash forwards as they describe to imagistic or observational characterizations of a character’s imagination; the utilize of visual and audio montages to disrupt the chronological time and replace the temporal and linear narration by his mise-en-scene’s spaces. As a result, it is principal to concept each Resnais film completely in order to understand its structure and discourse. This is especially fair for Marienbad, where a second and even a third viewing are significant to fully be pleased the structure and the details.
Marienbad is lyrical, but by its framings, has the precision of a documentary, undermining the cinematographic writing and heralding the future films of Duras, Robbe-Grillet, or Jean-Luc Godard. Resnais uses extremely short scenes, with purposely too gloomy or over-exposed shots, obscure image flashes, shot with reframing that allow for the intrusion of characters. Determined scenes are repeated several times, with variants. At times, the actors’ clothing changes in the same scene, resulting in blurring the distinctions between past, expose, and future, reality and fantasy The fluid camera moves everywhere with unrestricted freedom, a character unto itself. The dialogues are in the make of leitmotifs. The secondary characters converse disjointed, repetitive bits of conversations, and have a exclusive tendency to freeze in mid-sentence, or even to swear without making a sound. All of these effects are mesmerizing, and contribute to destabilizing the viewer. The mystery is further sustained by the names of the characters, which are only initials.
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Everything contributes to destroying chronology and setting an ambiguous mood. The music at the film’s “beginning” is typically “extinguish of film” music. Using staggered sound tracks of the narrator’s (X’s) snarl after the music further enhances this impression. Through most of the film, the sound of a single organ, playing an excruciating music gain mostly in a minor key which seems to have arrive from a scare film, accompanies the action. Minor keys conjure unfortunate and insecurity. X and A, dancing a expressionless waltz whose music, instead of being jubilant and exuberant, recalls Sibelius’ Valse Triste, does not contribute in any design to lighten the mood.
Games are pervasive in this film, symbolizing destiny (dominoes), and also the domination of M (who plays poker with determination and coldness, successfully bluffing his adversaries) . But the most considerable game shown in the film is a variation of the game of Nim, which from the release of the film on became known as “the game of Marienbad.” M haughtily announces “I could lose, but I always pick up.” In this particular version of Nim, which is based on binary representation of the number of items in the game at any give time, the one who first starts the game cannot acquire against an experienced player, such as M. And M, who proposes the contests, always manages, under the shroud of courtesy, to invent his adversary originate the game.
The first theme of Marienbad is like, which does not require great explanation. X is or was in cherish with A (or was it with A? If not, then A will do), and A, as befits any attractive woman, plays hard-to-get (or maybe she is not attracted by a bore such as X) .
The second theme is Resnais’ favorite: the elusiveness and subjectivity of memory, but also, its persistence and inescapability. As in Hiroshima Mon Amour, Resnais explores the effects of time and memory on the emotions of a pair of would-be lovers. In his hands, the time elements of memory, whether retrospective or prospective, accumulate realization as cinematic images, which the author manipulates through editing, effusing a non-chronological structure to his work. In Marienbad, Resnais shows us the hotel, its corridors, its salons, and its garden, together taken as an explicit metaphor for the “mind,” traveled by the roving camera, the “self” exploring its memory.
There are so many things to leer in Marienbad that, like the “account,” the possibilities are endless. There are two possible ways of viewing this film. In the first, a Cartesian come, the viewer will try to somehow impose a linear, rational structure and invariably will score the film difficult, if not totally incomprehensible. In the second scheme, the viewer will unbiased let him or herself be carried away by the astounding images and the mise-en-scene, and he or she will accept the film completely sure. And the “bonus” resides in the fact that upon subsequent viewings, one can reassemble this puzzle-like film in as many different ways as one’s imagination allows, making it each time a original viewing experience. Viewers in the first category will probably give the film a negative rating; those in the second category will give it a five-star rating. I give it a five star.
LAST YEAR AT MARIENBAD is virtually without eye in the cinema. It has caused a spacious deal of controversy over the years, with some claiming it as one of the greatest films ever made, others claiming that it must be some sort French joke on the audience. For those of you familiar with French films in general, you know that dreadful French movies tend to consist of a few characters discoursing about fancy in a stilted, soap-opera-like manner. Place against this context, LYAM is indeed a joke, a colorful satire. The banality of the cherish triangle also pokes very Gallic fun at the annoying cliches of Hollywood melodrama. Piece of the confusion caused by this film comes from the standard nature of the spot – our expectations about how this type of film should work are constantly dwelling up, then thouroughly compromised from the opening sequence of the movie. Viewers are rarely cognizant of objective how powerful we have internalized standard Hollywood techniques as the ONLY procedure of using cinematic forms to suppose a anecdote, which should have a beginning, middle and ruin, but MARIENBAD cannot be understood this contrivance, although there is indeed a progression to this bizarre account, which takes the originate of Man Y’s increasingly explain explanations of what might have happened between him and the Woman in her room, which might have been either rape or seduction. It is a profoundly VISUAL film that can only be understood if you exercise your eyes carefully. The action is split completely from the dialogue, which goes over the same issues again and again in settings that demonstrate different times of day and of the year. Some of these scenes are flashbacks, some may only be the narrator’s fantasy. In MARIENBAD, past, display and future coexist simultaneously. What MARIENBAD dramatizes is the relative quality of human memory. We tend to organize our perceptions of the world in linear fashion, but memory is non-linear, collapsing past and indicate into a single entity. Subjectivity is crucial to plan MARIENBAD, which examines the intention in which each participant in a given event experiences the same event differently. Lawyers know that if you have six different eywitnesses to an event, you will obtain six different stories about what happened, and this relativity of memory is basically what MARIENBAD is about. Once you know this, MARIENBAD is actually quite easy to understand and to follow, at least in terms of the “dwelling.” Now fair sit help and fancy the unbelievably rich technique the film uses to glance this view. The keen camera tracks by frozen humans, assimilating them within the overall decor, are combined with extraordinary editing techniques which alternately uninteresting down or extend time itself through fragmentation or repetition. The performances (and the actors REALLY ARE Bright – I can hardly imagine how difficult this film must have been to act) effect the same thing through similar means. This film should be watched at least 3 times, once unprejudiced to accustom yourself to its recent rhythms, a second to bask in the complex structure, and a third for the humour of it. MARIENBAD is a truly mind-boggling experience.
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