A team of scientists go to a nuclear mining facility to investigate a possible meltdown and instead find a large amount of cloned dinosaurs.
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Augustine H (nl) wrote: Technically speaking, Mr Ang Lee should be aware that the story he gets is not Titanic and he indeed wasted his efforts making the so-called technical achievements which are doomed to be unimpressive. We don't need fancy techniques when you are only shooting a TV show. He should leave this job to James Cameron. Story-wise, Billy Lynn makes American Sniper an instant masterpiece. I just couldn't care less about the TV show. One thing more, I would love to see what ever would have happened to him if he had been dropped to Hacksaw Ridge.
Jack E (us) wrote: Pelotero fenominal. Me gusta Pelotero es sobre dos peloteros de la RD. Miguel Angel Sano es formidable y Jean Carlos Batista is interesante.
Nolan P (de) wrote: Conspiracy movie about chemtrails. Good enough, but just not quite there.
rachael g (ru) wrote: Such a wonderful movie. Watched so many times and i can watch it any number of time...
Amrita H (us) wrote: one of the best movies ever
Ian V (fr) wrote: It's a Hamlet that we can understand. Actors often recite Shakespeare as if they are indeed reciting lines. They may be excellent in the role, but they still sound unnatural. Tennant sounds completely at home speaking the Bard's dialogue.
Jack G (ag) wrote: Noel Marshall and Tippi Hedren certainly had a, uh, interesting relationship for a while there in the 70's and early 80's. I don't know what their marriage was like behind closed doors of course, but somehow it's a great gift to the Earth that they produced the film ROAR. Why this is can't be easily explained in a review, but I can try with this: it's about a family that lives with lions and tigers and some elephants and panthers too. Or rather it's about a guy who LOVES these lions and tigers (by the way, why tigers, shouldn't they be in India and, oh, nevermind) and panthers and so on, and invites his wife to come live with him along with her and his kids. So here comes Tippi Hedren and actual real life children Melanie Griffith and John and Jerry (Marshall's kids), and when they arrive Noel is out uh doing stuff out in the plains or jungle, and they have to contend with a house full of lions. Oh, and these were UNTRAINED LIONS by the way.In a way I should be critical of Roar. Marshall, with the exception of one sequence that takes on the qualities of a Night of the Living Dead picture with wild cats in place of the un-dead, doesn't really set up suspense very well. The fascination with watching Roar is basic but constant: these are real people, many of them likely not exactly used to the f***ing idea of hanging out with things like lions and tigers, being knocked around, chased, bombarded by their paws and jaws and bodies, and that should in all likelihood they could/should kill these people.There's also the behind the scenes drama that imbues with what's on screen so much; right on the cover of the blu-ray it states that 70 cast/crew were harmed, and looking up who got what is just staggering (to give you an idea of the extent, director of photography Jan de Bont got his skull practically knocked off, and Melanie Griffith got facial reconstructive surgery, though the fact that we didn't notice in those movies she starred in in the 80's shows how good that surgery must have been). If there was a documentary on the making of this film it might make Herzog's Grizzly Man look like kids stuff.Indeed the hero to me of this film is de Bont; he gets his camera into places that I just couldn't think would be possible, right in the faces of these lions, capturing action that seems impossible - certainly with the knowledge that these lions didn't have proper, you know, TRAINERS. It's just a feeling of constant WTF that goes on with this - likely why it got picked up by Drafthouse Films as Drafthouse CEO Tim League is all about finding the freshest and brightest of those WHAT IS THIS sort of flick (they also released Miami Connection some years back) - and it's amazing just on that basis alone. It's also just hysterically funny in that way that the movie lacks that awareness of the danger. Or, let me rephrase that, I think the director knew that there would be danger with these cats, but, well, why carp? The attitude is that Man is the biggest enemy - the closest thing to antagonists are under-developed hunters, you know they are as they get lines showing that I guess and they have the guns - and that, with the exception of one memorable/super-bloody lion named Togar, the lions would be just peaceful and lovable creatures if left alone.But the ethos of the filmmakers is constantly at odds with what IS shown on screen. The actors, to their credit (at least Hedren and Griffith to an extent), get this and play this fear well through a long mid-section. There's really the feeling like there isn't really any, shall we say, 'acting' going on here; to this end, Melanie is named Melanie as are the Marshall sons, though why Hedren is a different character name is anyone's guess. I'd be surprised if there even was a solid script - how do you get these lions et al to do the things they do? It's an entirely maddening enterprise to see unfold, the kind of movie that shouldn't have been made, and may even be (borderline?) unethical, but as it is here you can't look away from the metaphorical train-wreck. As to why the animals don't act like how the tender-hearted (but nuts) Marshall and Hedren expect, I'm reminded of the Chris Rock joke after the attack during a Siegfried & Roy performance: "That tiger didn't go crazy, that tiger went TIGER!"
Bill M (br) wrote: Now that I look back at my ratings, except for Murder By Death, which is really carried by the actors, I can safely say that I have no need to see another Neil Simon play. Just don't like him. Thanks Cindy for putting the nail right on the head for me.
Uditha D (gb) wrote: The Dionysian and Apollonian concepts are superbly conflicting in this film. Kazantzakis, always known for his championing of Passion over Reason, also has expertly molded a character whom we shall always love and champion within ourselves. And what better man to act in that role than Anthony Quinn?Alan Bates and Anthony Quinn show a dual representation of a single individual - Apollo guided by Reason and Intellect, and Dionysus guided by Passion and Sentiment. Zorba teaching Basil on how to be free, love a woman, and best of all... live life, inspite of himself being beset by poignant tragedy, is the epitome of this grand masterpiece. A thousand pities that Quinn's Zorba was not on the list of the 50 greatest film heroes on AFI, but then again, at least he was nominated for an Oscar!A film that must be watched over and over again, for its passionless and unsentimental truth, for its upholding of Dionysian splendor, the brilliant cinematography by Walter Lassally, and last but not least... the cheerful Sirtaki dance scene that will liberate many a viewer, at least for the time, from the ravages of Pessimism and Reason. A definite 5 out of 5 in my opinion.
Richard D (jp) wrote: Millie Lammoreaux (Shelley Duvall) works at a spa for elderly folks. Pinky Rose (Sissy Spacek) is a new employee that Millie is assigned to show the ropes. Pinky is childlike and naive and almost instantly becomes completely enamored with MIllie. She moves in with her and slowly starts to become her. Millie is extremely talkative and organizes her life around what she reads in women's magazines. She talks to everyone constantly, but most of them are never listening, and those that do openly ridicule her. Altman is clearly very inspired by "Persona", so much so that, like that film, the action here is halted by a violent action and the entire film is restructured from that point on. The third titular woman is Willie Hart (Janice Rule), the pregnant wife of the man who owns the building they live in. She is an artist who paints murals in various places including the pool at the apartment complex. She almost never speaks, but is obviously aware that her husband is a drunken philanderer. There's another climactic scene that splits the film and rearranges the three into a unit that seems to complete these three fragmented personalities. Altman said this film came to him in a dream and it certainly feels like a dream. It has an internal logic that works on its own terms, and I personally think it's one of his better films. Duvall and Spacek have never been better.