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Sharpe's Peril is a British TV drama that is based on the character Richard Sharpe from the Bernard Cornwell series of novels. All told, there are over 20 Sharpe novels that cover the time period from 1799 to 1821. Most of them take place during the Peninsular Wars - fought primarily in Spain, Portugal from 1807 through the defeat of Napoleon in 1815 at Waterloo.
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When the leaves turn from vibrant green to shades of red, yellow, and brown you know that fall along with Halloween is well on itís way. Some people like to stroll thru the park, others like to carve up their pumpkins and eat their toasted salty seeds. But then there are others like myself who want to go sample some of the spooky haunted houses that are set up for about a month or two of fun.
ďTrue inspiration is impossible to fake,Ē explains a character in Christopher Nolanís existentialist heist film Inception. If thatís the case, then Inception is one of the most honest films ever made. Nolan has crafted a movie thatís beyond brilliant and layered both narratively and thematically. It requires the audience to take in a collection of rules, exceptions, locations, jobs, and abilities in order to understand the text, let alone the fascinating subtext. Nolanís magnum opus is the first major blockbuster in over a decade thatís demanded intense viewer concentration, raised thoughtful and complex ideas, and wrapped everything all in a breathlessly exciting action film. Inception may be complicated, but simply put itís one of the best movies of the year.
Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary. The acting is of the highest caliber, but the characters and their circumstances are underwritten. When the end arrives with its perfunctory stab at closure, there is satisfaction with neither the ghost story nor the love story. Both seem truncated, as if they are part of a larger that is never realized.
The focal point of one of the 2000 Sundance Film Festival's more serious bidding wars was this year's co-winner of the Grand Jury Prize (Dramatic Competition) and sole winner of the Directing Award (Dramatic Competition), Girlfight. At one point, no less than three distributors were vying for the rights to the movie. In the end, the winner was Sony Pictures' Screen Gems, which trumped both Artisan and Fine Line. (Surprisingly, Miramax professed not to be interested, even though this is the kind of film they normally go after tooth-and-nail.) From first-time director Karyn Kusama, Girlfight is a well crafted and emotionally satisfying debut - a fine drama about self-discovery and female empowerment. It's about taking charge of one's own life when it appears to be hurtling out-of-control towards disaster.
I'm Not There
Few figures in 20th century music are more deserving of the label "enigma" than Bob Dylan. Reclusive, frequently misunderstood, and never pigeonholed into a niche, Dylan has remained a mercurial figure for the entirety of his long career. So when filmmaker Todd Haynes (Far from Heaven) announced he was going to make a film that would deconstruct Dylan, there was reason for optimism. Unfortunately, the muddled reality, called I'm Not There, doesn't live up to the promise. To capture the essence of a sometimes pretentious, occasionally unfathomable artist, Haynes has made a sometimes pretentious, occasionally unfathomable film. Dylan fans will love it for the music, but that's about all the production has going for it. In the end, many viewers will leave with two impressions: the music is as good as it always has been and Dylan is a bigger asshole than one might have suspected.
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Deep Impact has been buried. Godzilla's size didn't matter as much as TriStar hoped it would. Six Days, Seven Nights took about that long to come and go. Now it's time for Bruce Willis to kick asteroid. Recalling the amazing box-office assault of 1996's Independence Day, which was also released over the July 4 weekend, Touchstone Pictures is understandably optimistic about the performance of their big summer gun, the latest from Midas producer Jerry Bruckheimer (Crimson Tide, Con Air). And why not? Since almost everything else released this season withered up in the June heat, the field is clear.
Gods and Monsters
Frankenstein. The Old Dark House. The Invisible Man. The Bride of Frankenstein. Show Boat. Although this may sound like one of those "which doesn't belong" games, there is a common element to all five '30s motion pictures - they are the enduring legacy of director James Whale. Whale, an Englishman who started on the British stage, came to Hollywood in 1930, and, with the release of Frankenstein in 1931, established himself as a premiere horror film maker. Whale's career spanned the '30s, but, after the spectacular failure of 1937's The Road Back (a picture on which he claims to have lost creative control), his star dimmed. By the mid-'40s, he was out of the motion picture industry and had turned his attention to painting. In 1957, following a stroke that left him in a state of constant mental deterioration, he drowned himself in a swimming pool. Gods and Monsters presents a fictionalized account of the last month of Whale's life, and is replete with flashbacks to his boyhood, his time in the trenches during World War One, and his movie-making heyday.
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Mary Shelly's Frankenstein
"In the last 20, 30 years, [Frankenstein has] been claimed by a whole generation of academics and scholars as a seminal piece of literature of that time. [It's] something which now, post-Freud, they feel reveals so many observations about family life, and incest, father-and-son relationships, and husband and wife relationships. [Frankenstein] speaks loudly to people, partly because it's so elusive. There's no definitive interpretation of it - it's certainly more than just a monster story." - Kenneth Branagh, director of Mary Shelley's Frankenstein.
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"Hate put me in prison. Love's gonna bust me out." Those words, spoken by Rubin "Hurricane" Carter (Denzel Washington), form the thematic foundation of Norman Jewsion's latest film, The Hurricane. Alternatively tragic and triumphant, it is an exhilarating trip through the life and times of the title character, a championship boxer from Paterson, New Jersey, who spent 19 years behind bars for murders he did not commit. The Hurricane not only details the crime and the miscarriage of justice that followed, but shows how Carter survived the long, lonely years in prison, and how the devotion of a small group of Canadians led to his redemption.
The Wild Bunch
The Wild Bunch
1969, Rated R
Ernest Borgnine, William Holden, Robert Ryan, Warren Oates, Jaime Sanchez
Director: Sam Peckinpah
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A distant, slightly dysfunctional family is brought closer together when the fathers long-estranged Uncle Nino comes from Italy to Chicago for a surprise visit.
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Jack Moony, a white cop, has it in for a black lawyer to the drug crowd, Napoleon Stone. That Stone is now dating his ex-girlfriend doesnt help matters at all. Stone is shot after Moony suffers a heart attack and wakes to find that he not only has a new heart, but that it is Stones and that Stones ghost is now his constant companion. Stone is insistent that Moony not only take care of his heart now but that Moony solve his murder.
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Beer Barrel Polecats
The stooges make a whole batch of homemade beer, but get tossed in jail when Curly sells some to a cop. Their minor indiscretion turns into a forty year sentence when a keg of beer Curly has hidden under his coat explodes while the boys are being photographed. In prison the stooges get into more trouble with the warden and wind on the rockpile when they try to escape. Released as old men with long gray beards, the first thing Curly wants is a bottle of beer.
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Higher. Faster. Harder.
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A policeman takes his twin brothers place and inherits his problems and a beautiful girlfriend. He is forced to kickbox his way from France to the U.S. and back while playing footsie with the FBI and Russian mafia. Not just muscles with a badge, the policeman must find the answers to some tough questions, none harder than what the heck is an accordian player doing in a sauna.
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