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Nicki M (us) wrote: Good, could have been better, but still enjoyed it. I didn't really like the "what if" game - it was too hammy for the subject matter. Also dragged a little long towards the end. However, good performances from the cast and great to see Mira Sorvino in something recent. I do look at her and see Romy, though, can't help it! Please say that's not how Romy wound up!
Richard S (ag) wrote: This is the second 'British Blair Witch' I've seen recently and unfortunately for A Night In The Woods, Hollow, although not a brilliant film, was still a lot better than this. There are a few scares in this one but it's mostly just a lot of running around in the woods at night and it feels like quite a slog before we even get to running around in the woods as the first half of the movie was quite slow. It was also quite frustrating too as one of the character really needed more of an explanation as to why he was behaving the way he was.
Curtis M (jp) wrote: Surprisingly good, as long as you can suspend your sense of belief!
Mohammed A (es) wrote: It's good movie to watch
Antonia H (it) wrote: Love the characters & the quirkiness.
Siriporn P (mx) wrote: A good bridge from the first to the last part.
Joseph U (ca) wrote: Good story! Bad acting.
Raymond W (ag) wrote: Possibly the greatest Kurosawa film not filmed by Kurosawa. Zhang Yimou's masterpiece combines beautiful martial arts action with ingenious Rashomon storytelling in this historical epic.
Justine S (mx) wrote: A potent film about justice, Sergeant Rutledge stands among the greatest works of John Ford. Sergeant Braxton Rutledge is on trial for his life, as he has been court marshalled for murdering a superior officer and his daughter. He is a member of one of the first black cavalry regiments instatement after the freeing of the slaves, and by all accounts is a model soldier. Set in a courtroom, each individual witness testimony evokes vivid flashback sequences that paint bit by bit the events that transpired that day, with exception, of course to the crime itself. The man defending Rutledge is a friend, Lt. Tom Cantrell, who believes completely in his innocence. There is a painterly quality to the film?s cinematography, especially in the early scenes. It creates a world that is close to being real, but isn?t quite. Mary Beecher?s first encounter with Rutledge is on a dark night, she has been dropped off at a train station where she was to meet her father. No one is there, and she soon finds the station master dead, and is soon grabbed by Rutledge rather violently. The scene is one out of a horror film, an extension of her anxiety and fear painted into the darkness of the setting. Even the weather seems to storm around the small station, isolating the two and creating an incredible sense of dread. The rest of the film isn?t nearly as visually affecting as this early sequence but the whole thing speaks for Ford?s style, evoking idolization and strength especially through editing and low angle shots. At it?s heart, the film is about the changing face of a country because of the Emancipation Proclamation, and how despite it?s inception, men are still not free. Sergeant Rutledge?s primary struggle is this idea that he is not an equal, and the colour of his skin damns him even before he has an opportunity to defend himself. His pride and belief that one day black men and women will be given the same opportunities and treated with the same dignity is what drives his decision to run off, and motivates his cryptic confessions and testimony. Even though under the eyes of the law he is supposedly free, he does not feel that way, and his sacrifice is the sacrifice for his ?family?, that they may not be tainted by the blind accusations. Woody Strode gives probably a career performance as Rutledge, bringing a huge amount of emotional and historical weight to his performance. His testimony is heart-wrenching, but it never crosses the line into melodrama or attention baiting. It is one of the most sincere expressions of ideology and social criticism I have ever seen put to film. Apparently, Strode said this was the favourite film of his career (one that included such classics as Once Upon a Time in the West, Spartacus, The Man Who Shot Liberty Valance and the Ten Commandments, among others). Though often forgotten between two of Ford?s more famous films, this deserves it?s due as a startling portrait of justice and Americana.
Blake P (nl) wrote: Film noir at its best! Good-hearted working man Steve (Lancaster) is having a regular life-- but when his seductive, selfish ex-wife Anna (de Carlo) it goes from fine to exciting. When she hints that she wants to have an affair, Steve goes for it, but she abruptly married a tough mob boss (Duryea). When Anna decides she doesnt really love him, she yet again goes to Steve, but her husband catches them, so Steve tells him they were planning on an armed car robbery. Now he has to go through with it, or he will die. Though many rank "Out of the Past" from 2 years prior as the best film noir, "Criss Cross" is a lot closer. Though its not necessarily the best (I have not even seen one that I classify), it's even more noiry than that 1947 junk. "Criss Cross" has every film noir element out there-- a cool, mysterious score, an excellent use of black-and-white and close ups for the cinematography, and the perfect actors. Though both Lancaster and Duryea had already proven themselves in this genre, de Carlo had not. In this however, she showed that she could be one of the best femme fatales, and when she does the rumba (with the young Tony Curtis in an uncredited role), you know how much power she has over Steve. Robert Siodmak had already proved himself in this genre with classics like "Phantom Lady" and "The Killers", but this one is so much more fun to watch. Its full of great characteristics, and that is why he is so remembered today. "Criss Cross" is a great movie.
Christopher B (jp) wrote: I liked this. Cheesy but awesome action and visuals.
Ethan P (au) wrote: One of the most heart-breaking films I've ever seen, Tom Hanks and Denzel Washington both give powerful touching performances, one as a gay attorney fired because he has aids and the other as the counselor who represents him in court and his sympathy overides his disgust for homosexuals and the deadly disease.
Eric H (nl) wrote: A dull film that thinks itself to be oh so clever, Third Person is a downright boring movie with a raft of unlikeable and uninteresting characters who occupy a storyline line that consistently fly's the line between utterly unbelievable through to total boredom. You're always sitting and waiting for Third Person to go somewhere, anywhere but thank goodness there are moments when people yell or break things as if they didn't, Third Person would've been one of the year's biggest non-events in a narrative and movie sense. As it stands, it's just plain old awful.