movies that u might rememer watching..........
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for those that have not watch, do yaself a favour and go get these under-rated shows!!!!
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Alive is the true story of a plane crash that occurred in 1972 in the Andes. Come on, you know what I'm talking about, the one where the survivors had to resort to cannibalism? Yeah, I saw that episode of Seinfeld too. The movie has been parodied way too much for something of its caliber.
It starts out with a steely narration by John Malkovich, who tells of his finding God in the Andes, and then quickly goes into a terrific sequence involving the plane crash.
From there on in, most of the rest of the movie occurs at the front half of the plane, where 27 survivors begin their fight to live. A few people are completely broken by the experience and die. A few people do will go to any lengths to survive.
The particular lengths they will go to include cannibalism. They do not kill and eat, but instead eat the people who have already died. Nando (Ethan Hawke) and Antonio (Vincent Spano) have such strong survival instincts that they are willing to climb the Andes to save themselves and their friends. -
Instinct
Violence has become a negative catch-word recently, so it's refreshing to see how the concept is explored in this psychological thriller, based on Daniel Quinn's book "Ismael." Anthony Hopkins plays a highly respected primatologist who has been jailed for killing two Rwandan rangers and injuring others after choosing to live in the wild with mountain gorillas for nearly two years. Held captive in an overcrowded maximum security prison for the criminally insane, he is interrogated by a bright, ambitious psychiatrist, Cuba Gooding Jr., who is eager to understand the mysterious truth behind the scientist's actions in anticipation of writing a best-seller. While simplistic, Gerald DiPego's script is intelligent and thoughtful, delving into the concepts of illusion and freedom, combined with the lust for domination and control, ultimately dividing people into "givers" and "takers." Director Jon Turtletaub ("Phenomenon") integrates the brutal reality of prison life with memories of what transpired in Africa to motivate Hopkins' violent behavior. The challenging, combative chemistry between Anthony Hopkins and Cuba Gooding Jr. is palpable, escalating the tension level, which is already elevated by the hostile sadism of the prison's guards and warden. But a subplot involving Maura Tierney as Hopkins' daughter never jells, and the conclusion is cloyingly melodramatic. Arguably the most versatile and talented actor on the screen today, Anthony Hopkins evokes a volatile power and fury reminiscent of Hannibal Lechter in "The Silence of the Lambs," while Cuba Gooding Jr. displays a forceful, bruising intensity. And special-effects wizard Stan Winston works wonders with the gorillas. On the Granger Movie Gauge, "Instinct" is a compelling 7, commanding attention from start to finish. -
Lord of the Flies
A group of wealthy schoolboys from an academy traveling via airplane crash near a deserted island. They swim for the shore and set up their own version of civilization. They set up a signal fire and at first tend to it faithfully in the hopes of being rescued. With time the boys splinter into two groups. One group lead by Ralph believes in society as they left behind. The other group lead by Jack believes in war, hunting, and survival of the fittest.
The groups compete for the assets they have on the island including a knife and a pair of glasses to start fire. Near the movie's end Jack's war group with their warpaint and spears is the dominant group. Ralph the peacemaker has but one follower left in his group, that being a porky glasses wearing nerd named Piggy which Jack and his warriors kill. As he is killed warrior Jack proclaims "We got it made. No Parents, no teachers, no academy, no girls.'"
The movie shows how society can break down in the wild. The naive weakling Piggy is killed despite his belief that "We did things the way grownups would have. Why didn't it work?" The diplomat Ralph can't hold together any sense of unity or hope within his group or the other. Everyone defects to the ways of the warror Jack and the meat which his group always acheives. Is this really what people are all about if civilized convenience and safety is removed?
If people can't just go to the local McDonalds to get food just who would they want to lead them; the civil politician or the militant hunter who obtains meat with ease? Amidst the prosepct of disaster people often do choose those of militant mindsets. The last 60 years of human history showcases this via Stalin, Hitler, and others. Lord of the Flies as a movie is based on William Goldberg's classic novel. Before this 90's movie version of the book there was another film version in 1963 as well.
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Originally posted by ratinacage:Alive is the true story of a plane crash that occurred in 1972 in the Andes. Come on, you know what I'm talking about, the one where the survivors had to resort to cannibalism? Yeah, I saw that episode of Seinfeld too. The movie has been parodied way too much for something of its caliber.
It starts out with a steely narration by John Malkovich, who tells of his finding God in the Andes, and then quickly goes into a terrific sequence involving the plane crash.
From there on in, most of the rest of the movie occurs at the front half of the plane, where 27 survivors begin their fight to live. A few people are completely broken by the experience and die. A few people do will go to any lengths to survive.
The particular lengths they will go to include cannibalism. They do not kill and eat, but instead eat the people who have already died. Nando (Ethan Hawke) and Antonio (Vincent Spano) have such strong survival instincts that they are willing to climb the Andes to save themselves and their friends.
I remember a very similar movie, almost the same as your description. But I think the title wasn't "Alive" it was "Ravenous".
never watched both. -
Powder
In life there often are those who do not fit in with the norms of society. Such ways of their existance could be a testament to their uniqness or rather to the solitude of their existances. In Powder the existance of one human being is both a testatment to uniqueness as well as the quiets of solitude.
Covered in white, in albinoish tint, teased by all, there exists one who can share understanding and power with the world. He shows a hunter the pain he inflicts on a deer by touching the deer and then having the hunter touch him. Electrical powers, the ability to move spoons, such are showcases of power, that this being seeks to minimize. In one scene all the forks and spoons from a lunch room are stuck together as if by magic.
At the end of the movie this white being clad in mystique, not understood, and always alone, looks to the sky. He then vanishes like a streak of energy, spread everywhere in the world, but yet no where. The movie speaks to those who are different; those who seek what others will not ever wish to find. Understanding, enlightenment, even oneness with the universe, to some these are scary things. To powder they are the ways of his world. -
The Shining
Stanley Kubrick's The Shining is less an adaptation of Stephen King's bestselling horror novel than a complete reimagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's movie is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook mirror the emptiness in the soul of the blocked writer, who's settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him--all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demands for take after take after take.) The Shining is terrifying--but not in the way fans of the novel might expect. When it was redone as a TV miniseries (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there--but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones; it stays with you, inhabits you, haunts you. And there's no place to hide.
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Movie Review | Irreversible
Reviewed by: Brian Orndorf
Marcus (Vincent Cassel, “Brotherhood of the Wolf”) and Alex (Monica Bellucci, “The Matrix Reloaded”) are an average couple living a social life in Paris. One night, during a boisterous party, Alex decides to leave when Marcus becomes far too belligerent to enjoy the evening any further. Traveling down a metro tunnel, Alex is attacked by a pimp and is violently raped. Marcus, having learned of his girlfriend’s fate far too late to prevent it, decides to track down the offender, leading him and friend to an S&M club called “The Rectum,” and ideally, ultimate revenge.
Gaspar Noe’s “Irreversible” is a lightning bolt into the cerebral cortex. For those with a strong stomach, the film is simply a journey into hell. But for those who might not have familiarity with the recent wave of French “shock cinema” (“Baise-Moi, “Fat Girl”), “Irreversible” might be far too strong an experience. However you approach the horrors contained within the picture, the end result is one of the most artistically daring and searingly hostile pictures I have ever come across. This isn’t a film that is passively watched, but more a film that grabs the audience by the collar and takes them down with the events onscreen. Any kind of emotional reaction is welcomed from a moviegoing experience, but with “Irreversible,” the reactions are taken forcibly and violently. This isn’t an easy film to swallow, but the artistic merits and pure adrenaline of the filmmaking make this film a rousing creation unequaled this year.
The film’s centerpiece, if you will, is the Bellucci rape sequence which ends up taking almost 10 minutes of screen time. Presented in one single take, the sequence is blistering to behold. It’s also responsible to the film’s unseemly reputation, which I feel is without merit. Noe uses this sequence, and a similarly brutal beating in the “Rectum” club, to make his dramatic points about the tragic underbelly of life. As wrenching as they are, I never found these two scenes to be exploitative. Noe has a bigger strategy in mind with the violence, which is made all the worse once we learn to true nature of Alex and Marcus’s relationship near the end of the film.
The theme of “Irreversible” is how “time destroys everything,” which is pessimistic to be sure, but Noe’s examination of inevitable dread is fascinating. The film is structured backwards (the end credits open the film), much like Chris Nolan’s “Memento.” However, “Irreversible” is no mystery. The ugliness of the story is presented right away, forcing the audience to view events they have no emotional connection to besides horror. Once we witness the crimes, it is only the route to them that is left, robbing the film of the visceral power a revenge story typically inspires. This leaves the film with an unmistakable power, with Noe deliciously taking away expectations, and replacing them with small doses of originality and horror. Noe keeps his film disorienting with swirling camera movements and a cast that is performing mostly through improvisation (Cassel clearly breaks character at one point), but “Irreversible” is hardly chaotic or meandering. The horror of the events onscreen are often impossible to watch, but Noe’s commitment to his theme of destruction and stylistic choices are splendid.
I would never suggest that “Irreversible” is an easy sit, nor do I think it will appeal to a great many people. This is an honestly challenging film that consistently requires the full attention of the viewer, and I utterly adored its volatile nature. -
I remember watching "Howard End". Damn long film....think aboit 3 hours. One of the most boring movie I ever seen and I have no idea what the heck the story's about. Just remember I keep scolding my friend who insisted watching that movie in the theater.
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Winona Rider (Lelaina Pierce) and Ethan Hawke (Troy Dyer) generate a lot of chemistry in Reality Bites, and that's the saving grace of the film. The movie calls itself a "comedy of love in the 90s". I don't think it was that funny, or that realistic, but it was a good clean movie to watch and had some pretty good acting. It has a lot of good music, and the classical references in the movie are pretty interesting.
The basic plot is about these struggling recently-graduated people trying to find jobs and dealing with the "real world" (one wonders why they'd want to, given that they could be in college forever). As John, my mentor, remarked, this (finding jobs) somehow seems to a obsession among undergraduates these days. The statistics aren't clear, but is it really true that one, who is reasonably successful (by this I mean someone who also manages to avoid being "average"), will find it difficult to get a job? It is definitely true an undergraduate degree doesn't hold much value these days, but that's because, in one sense or another, standards have declined and therefore it is a lot easier to graduate without much effort. This might sound unfair, but there are a lot of majors which make graduation all the more easier. A college degree no longer matters---what it is in matters a bit. In any case, a college degree is not a prerequisite for being "good" in an area. This is clearly evidenced by the fact that certain people, say people with experience in writing software and in systems OUTSIDE of classes, find it easier to get jobs than people who haven't spent enough time exploring what they intend to do the rest of their lives. This means you should obtain internships to show you can cut it. But I digress...
Lelaina is the college valedictorian who's making a movie about her friends as they deal, having no role models, with reality. Troy is an intellectual, but a slacker and thus gets nowhere in life. Then there's Michael Grates (Ben Stiller), who's a non-intellectual yuppie who vies with Troy for Lelaina. Lelaina's roommate, Vicki Miner (Janeane Garofalo), who works at a GAP and sleeps with 66 (yes, she records each person's name in her diary) boys before she gets tested for AIDS. All these characters together form a modern-day soap opera. From one perspective, it diplays the confused interrelationship-etiquette seen in today's society. It also displays these young people struggling to fight against the commercialisation that "reality" brings upon them. Unfortunately, the movie becomes a bit of a self-parody in that regard given its gross commercial placements, and it never goes beyond the level of a soap-opera. Worth renting. -
Powder
wah.. that time 1997 movies. got the power to open the door by itself.
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huh???i dun got wat u trying to say dude......Originally posted by Evanglion:Powder
wah.. that time 1997 movies. got the power to open the door by itself. -
i mean the white guy got the power to open the door without touching it. i also dont understand why he ran and ran then the sky eletrictcuted him and his gone. Thats no explaination. mmm... Paranormal
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What does God want? Does God want goodness or the choice of goodness? Is a man who chooses the bad perhaps in some way better than a man who has the good imposed upon him?
Alex - But what I do I do because I like to do.
Alex - No time for the old in-out, love. I've just come to read the meter.
Alex - There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim, Dim being really dim, and we sat in a Korova Milkbar making up our rassoodocks what to do with the evening.
Alex - What we were after now was the old surprise visit. That was a real kick and good for laughs and lashings of the old ultraviolent.
Alex - The Durango 95 purred away real horrorshow, a nice warm vibratey feeling all through your guttiwuts.
Alex - Bliss, bliss and heaven... it was gorgeousness and gorgeosity made flesh...Oh, it was wonder of wonders... And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now...
Alex - You were not put on this earth just to get in touch with God. That sort of thing could just sap all the strength and the goodness out of a chelloveck.
Alex - As we walked along the flatblock marina, i was calm on the outside but thinking all the time. So it was to be Georgie the general saying what we should do and what not to do and Dim as his mindless grinning bulldog. But suddenly I viddied that thinking was for the gloopy ones and the oomny ones used like inspiration and what Bog sends. Well now, it was lovely music that came to my aid. There was a window open with the stereo on and I viddied right at once what to do...... -
Mel Gibson's "Braveheart" is a fullthroated, red-blooded battle epic about William Wallace, the legendary Scots warrior who led his nation into battle against the English in the years around 1300. It's an ambitious film, big on simple emotions like love, patriotism and treachery, and avoids the travelogue style of so many historical swashbucklers: Its locations look green, wet, vast, muddy and rugged.
Not much is known about Wallace, known as Braveheart, except that according to an old epic poem, he unified the clans of Scotland and won famous battles against the English before being captured, tortured and executed as a traitor.
Wallace's dying cry, as his body was stretched on the rack, was "freedom!" That isn't exactly based on fact (the concept of personal freedom was a concept not much celebrated in 1300), but it doesn't stop Gibson from making it his dying cry. It fits in with the whole glorious sweep of "Braveheart," which is an action epic with the spirit of the Hollywood swordplay classics and the grungy ferocity of "The Road Warrior."
What people are going to remember from the film are the battle scenes, which are frequent, bloody and violent. Just from a technical point of view, "Braveheart" does a brilliant job of massing men and horses for large-scale warfare on film. Gibson deploys what look like thousands of men on horseback, as well as foot soldiers, archers and dirty tricks specialists, and yet his battle sequences don't turn into confusing crowd scenes: We understand the strategy, and we enjoy the tactics even while we're doubting some of them (did 14th century Scots really set battlefields aflame?).
Gibson is not filming history here, but myth. William Wallace may have been a real person, but "Braveheart" owes more to Prince Valiant, Rob Roy and Mad Max. Once we understand that this is not a solemn historical reconstruction (and that happens pretty fast), we accept dialogue that might otherwise have an uncannily modern tone, as when Braveheart issues his victory ultimatum to the English: "Scotland's terms are that your commander present himself in front of our army, put his head between his legs and kiss his - - -." Uh, huh.
In the film, Wallace's chief antagonist is King Edward I ("Longshanks"), played by Patrick McGoohan with sly cunning; he is constantly giving his realpolitik interpretation of events, and that's all the more amusing since he's usually guessing wrong. Edward's son, the Prince of Wales (Peter Hanly), is an effete fop who marries a French woman only for political reasons. "I may have to conceive the child myself!" Longshanks says, and indeed, under the medieval concept of prima nocte, or "first night," nobles were allowed a first chance to sleep with the wives of their lessers.
The Princess, played by the French actress Sophie Marceau, does not much admire her husband, who spends most of his time hanging about moon-eyed with his best friend (until the king, in a fit of impatience, hurls the friend out the castle window).
Edward, smarting from defeats, dispatches the Princess to offer his terms to Braveheart, but soon she's spilling all the state secrets, "because of the way you look at me."
The Princess is the second love in Wallace's life; the first, his childhood sweetheart Murron (Catherine McCormack), marries him in secret (so the local English lord won't claim his rights). The two spend their wedding night outdoors, and the backlit shot as they embrace gains something, I think, from the frost on their breaths. These characters come from hardened stock. (When Wallace has a reunion with his childhood pal Hamish, they hurl rocks at each other for entertainment; later, when a Scotsman has his wound cauterized, all he says is, "That'll wake you up in the morning, boy!") -
You can't get any more into Marine Boot Camp at Parris Island (without signing up) than you do in the first half of FULL METAL JACKET. R. Lee Ermey, who plays Senior Drill Instructor Gunnery Sgt. Hartman, was originally the Technical Advisor for the film. Since he had really been a Marine DI, Stanley Kubrick asked him to give an example of how an SDI would talk to a new platoon of recruits. After some minutes of non-stop invectives without repeating himself, Kubrick was so impressed that he hired Ermey on the spot to play the role on screen. And, the sample dialogue was incorporated into the script.
The reality of Recruit Training and, in the second half, the Tet Offensive in Vietnam is enhanced in this film by the relationships that develop -- Hartman with the recruits and the recruits with each other. This is great stuff!
I have to admit a bias here. I served in the Marines for twenty years. I was a Company Commander at Parris Island in 1969 - 70. The year before I was CO of E Company, 2nd Battalion, 5th Marines (2/5) just after the battalion came out of Hue City. 2/5 led the American counterattack into Hue.
After a tragic end to training, the film switches to Vietnam on the eve of the Tet Offensive. 'Joker' is a Military Journalist (in the Rear with the Gear, working out of DaNang). When Tet begins, he is sent to Hue and finds his old Parris Island buddy 'Cowboy' with 'Hotel' Company, 2/5.
FULL METAL JACKET is one of three films on this site that cover the Vietnam War. The others are Platoon and Hamburger Hill. They are part of the larger History in Film web site that supports teaching history using popular films. It includes films from Rome up to the war in Vietnam.
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i watched Alive many years ago...i was pretty affected by it cos' i saw their desperation and helplessness of having to eat the flesh of those dead victims of the airplane crash.
The Shining....umm....Jack Nicholson damn good ah! I didn't dare to sleep for quite a while after watching it....