When David's father dies, his mother remarries. His new stepfather Murdstone has a mean and cruel view on how to raise a child. When David's mother dies from grief, Murdstone sends David to... . You can read more in Google, Youtube, Wiki
Charles Dickens' classic tale of an orphaned boy's fight for happiness and the colorful characters who help and hinder him.
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David T (us) wrote: So a single cameraman has the ability to jump back and forth between 15 different camera angles without missing a millisecond of dialogue. A man possessed by a demon will continue to record himself 24/7 from multiple cameras, not to mention edit the footage together afterwards, adding in spooky music and smartassed narration. There are so many completely asinine slaps to the faces of the viewers' intelligence in this pathetic excuse of a movie, that it would take triple the film's running time to type it all out. So I will just leave you with one final thought: The Possession of Michael King is a total insult to not only fans of found footage/mockumentary horror, but horror fans...hell, even fans of cinema in general. I am vastly disappointed in what had an opportunity to be something substantial in the genre.
Ticiana O (nl) wrote: No involve o telespectador, o filme no lhe prende.
Cameron F (au) wrote: Father has a mid life crisis but learns the meaning of life while on a cattle drive. Palance stars as the wise white man who knows the answers to the meaning of life.
Ian F (fr) wrote: What should be and in many ways starts off as old-timey, good-hearted, Christian, Oscar-bait with a "We have to save the farm" attitude turns out to be that, but so much better. It really threw me and presented me with something good. All the performances are excellent, and the film is deserving of the accolades it received. And did they ever look so young?! That all said, the cheating spouse storyline seems tacked on. And that poor woman who gets her face blown in during the tornado!
Mark F (br) wrote: The problem with most of the reviews I've read about this film is they worry too much about the source material and what was left out. They lament how the film varies from the book, omitting details that, had they been included, would have pushed Ragtime to miniseries length, not a stand alone movie. Taking the movie on its own merits, it is a masterfully coordinated collection of many characters (mostly fictional) whose lives intertwine in multiple ways. Where other movies beat you over the head pointing out such coincidences, Ragtime presents them with a subtlety you don't often experience in American cinema. All actors in the film deliver -- from legends like James Cagney to bit part players like Fran Drescher (of all people) -- and none quite so brilliantly as Howard Rollins who shines brightly here at the height of his short career.I've always thought Ragtime is one of those special films -- underrated upon its release and a thing popular movie audiences don't quite know what to do with -- that will one day be considered a masterpiece. After recently watching it again after many years, I have no reason to think otherwise.
James S (kr) wrote: Not bad. Is worthy of the name.
Danijel J (it) wrote: Leave Her to Heaven is probably first noir ever shot in color. Off course, they didn't call them noirs back than. It was just another melodrama done by the master of the genre John M. Stahl. It is his most celebrated work which provided Gene Tierney with the strongest role of the carrier, a role that finally established her as a serious actress. She plays Elen, a soon to be married young girl, who breaks her engagement after she meets an attractive writer Richard Harland (Cornel Wilde) on the train. In a matter of couple of days they are married and in the beginning everything seems to be going right. But Helen gradually becomes possessive and wants to alienate her husband from everyone including his cripple young brother. That leads to the most powerful and chilling scene on the lake. Film noir as a genre exists in the darkness and depends much more on the atmosphere and tone than it does on the plot. Therefore, color can take much of that away from it, by often focusing us on irrelevant things. Even in the seventies and on, in the so-called neo-noir period where films were shot in color, directors always tried to strip It down a little enabling us to connect with the characters more. But Leave Her to Heaven is a different thing. It was shot in beautiful Technicolor and that, along with the performance from Tirney, is its biggest strength. What Stahl does here is putting the beauty and innocence of both colors and Tierney's appearance in a stark contrast with her inner demons. That makes her growing obsession even more disturbing and chilling. He really wouldn't be able to do that without her wonderful performance as Elen. Laura is often regarded as her best film and it probably is, but lets face it, that picture wasn't exactly about her. It was about Dana Andrews character and all that she had to do is appear and look like Gene Tierney. Here on the other hand she has an astonishing screen presence and we don't doubt for a second that she is capable of anything. Stahl is patient with this material and doesn't rush it. He takes his time to build the characters, the whole first half of the film actually, something that the Hollywood of today could learn from. The weak spot Is the epilogue in the courtroom, which feels more like a plot device and it is the only place where movie really looses its ground. But other than that this is truly a haunting picture, the one which, like Laura two years earlier, truly deserves cult status it has.
Richard D (es) wrote: This is a really good examination of a woman's attempt to control her desire and ambition, with incredible dialogue and disarmingly naturalistic acting. The sets and situations are extremely clever in a subtle way, and this is a film that is well-worth watching from an underrated director. The music is awful though, and some aspects of this have dated pretty badly!
F B (es) wrote: Exactly what I expected. Garbage.
Chris E (br) wrote: Good cinematography and good music.
Kevin L (ru) wrote: Exists does include a few good thrills, a bit of entertainment, and a touch of thought near the end, but you won't care about a single character, and the nighttime scenes are too murky
Brad G (fr) wrote: Such an odd film. The story of an evil asshole who does evil asshole stuff and dies an evil asshole death. I really like how it shows the Scarface persona for what it is--Bullshit. Ernest Dickerson is such an interesting director. I wish he'd get out from the land of tv more. Not VF.
Jamie B (au) wrote: Gave me Ocean's 11 vibes, but even more quotable...
Guido S (it) wrote: As a huge fan of the series, I was excited about this movie when I found out they were doing a kickstarter to make a movie. I didn't find out though until much later, so I had to wait to get my copy. Continuing in what would have probably been the 4th season, Thad has been drafted and Moran is set to lead the team. However, the Dean of BMS wants to shut them down and he must find ways to save the Goat House and enlists the help of Thad. Pretty typical late night comedy plot here, which is what I expected.However, he wants the house turned into a Disneyland for parties and other form of debauchery the show was known for. Still not bad. Then the other part of the movie starts.Things obviously will not work out, and it starts to get pretty sad and depressing. This is not a show I ever would expect to go in that direction. It just didn't feel the same despite all the same characters. In the end, they do find a way to at least bring closure to it, but I felt like the third season was a much better way to end the show than this. It just tonally was completely different and not what I wanted from this. A big disappointment from this BMS fan.