The Funeral

The Funeral

At the beginning of the film the father-in-law of the protagonist dies unexpectedly of a heart attack. The remainder of the film is episodic, moving from one incident to another over the course of the three-day funeral, which is held (as is customary) in the home. These incidents contrast old ways and new ways, young and old, ritual ceremony and true feelings, often comically, but sometimes with real poignancy.

At the beginning of the film the father-in-law of the protagonist dies unexpectedly of a heart attack. The remainder of the film is episodic, moving from one incident to another over the ... . You can read more in Google, Youtube, Wiki

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The Funeral torrent reviews

Shajie K (gb) wrote: watched with mumcute movie! cute cast and acting. some good songs too

Lesley T (ca) wrote: I saw this at a Redbox and didn't know what the film was about - WHAT A WONDERFUL SURPRISE. The MUST-SEE movie of 2012!! Don't let the atheist critics stop you from watching this important film!

Marianina S (it) wrote: seems a very bad movie

Corpse M (es) wrote: overlly cliche, the plot seemed somewhat like nightmare on elm street and loaded with horror cliches like a murdous clown back on revenge, the ouiji board and magic eightball, and even the main charcaters were your average high school horny horror movie teenagers. what did make this movie good was the murders were nice and nasty, the clown looked badass, and the one liners were cheesy funny. somewhat recommendable as it is not the best but far far far from the worste.

Steven M (au) wrote: Much better than I expected

Ariel R (fr) wrote: Great movie! The movie was fantastic and of course John Corbett was in it. It didn't hurt that Oliver James was in it either.

bill s (us) wrote: Bad but not horrible.....exactly what you'd expect out of Perry.

Jeremiah Z (us) wrote: Vraiment ridicule, mais tellement drole

Olaolu A (fr) wrote: Tragically underrated and little-seen effort from the mid-90's, which is shocking given that James Cameron was involved in this. Action-adventure, science-fiction, murder-mystery, modern-noir and social commentary combine to make this a relentless, adrenaline-fueled and surprisingly thought-provoking futuristic thriller. The brilliance of this film lies in the fact that much of what was depicted here doesn't seem all that implausible- many viewers may indeed be reminded of somewhat recent history. Even the virtual reality technology seems almost like something that could be around in the near-future. Kathryn Bigelow, who made history recently by becoming the first woman ever to win the Best Director Oscar for her direction of the tense, gripping war thriller, The Hurt Locker (which was also the Best Picture winner that year) does justice to her ex-husband James Cameron and co-writer Jay Cocks' script. Her direction of the virtual reality sequences is especially worth mentioning; the utilization of the point-of-view camera shots makes these scenes seem that much more immediate and intense. Aside from the V.R. material, there are several action sequences throughout the film that are skillfully handled including plenty of hand-to-hand combat and a thrilling car-chase/shootout. Cameron may not have been the one at the helm this time but this is precisely how I would've imagined he would direct the film. The pacing is tight, the cinematography is crisp and clean, and the soundtrack is on overdrive. It would be easy for all of this to overwhelm the important elements but, as with all of Cameron's efforts both before and after this, the special and visual effects serve the story and individuals who populate it, not the other way around. As can be expected, the main characters are well developed which adds to the surprising poignancy of some scenes in the film. The performances by Fiennes and Bassett are top-notch, although I dunno what the hell Fiennes was doing with that accent! In spite of that inconsistency, he does a good job of bringing out the humanity in a character that is effectively a sleazebag. We feel and root for him, which is key to the film's success. As the co-lead, Angela Bassett makes a strong addition to James Cameron's gala of action heroines. Not only does she get to kick some serious ass but she also gets the emotional dimensions of her role. The leads get solid support from Tom Sizemore (who could also be seen in Heat and Devil in a Blue Dress the same year that this came out), Vincent D'Onofrio and William Fichtner (as a pair of less-than-scrupulous cops), Michael Wincott (in a part similar to what he did a year earlier in The Crow) and Josef Sommer (who, in a nice bit of irony, gets a chance to play an honest, albeit uptight, police commissioner after having played a corrupt police chief a decade earlier in Peter Weir's dramatic thriller, Witness) amongst others. The only performer that doesn't quite pull her weight is Juliette Lewis but that shouldn't really surprise anyone. Per the usual, she gets the sleazy and trashy part of her character but that's as deep as this performance goes.Obviously, certain aspects of the film are dated but in no way does that hinder the enjoyability factor of the film. I used the phrase "thought-provoking" at the beginning of this review to describe this film and those words were chosen for a reason. One point the film wishes to address is the addictive nature of technology and in this day and age where many people practically live their lives online, it's tough to refute what the movie is saying. The main thrust of the film revolves around devices called Superconductor Quantum Interference Devices (or SQUID's as the film refers to them) that lets you film personal experiences and allows others to put on a headset and live those experiences from the vantage point of the original wearer. It's virtual reality taken to the next level. How many of us *wouldn't* be drawn in by the promise of being in someone else's shoes if only for a moment? It's right there in the film's original tag line: "You know you want it." Who wouldn't want to be able to vicariously experience the thrill of robbing a bank (as the masterful opening sequence shows) or participating in an orgy? It's a very enticing proposition but like any drug, it can be become highly addictive. Strange Days shows how far down this rabbit hole one can go. It's not entirely dissimilar from what would be postulated four years later, when The Matrix was released.In addition to the vices of technology, Strange Days has a few things to say about the racial divide that often exists in modern America and what could possibly happen if this gap isn't bridged. At times, it's hard not to think of the Rodney King incident and the subsequent L.A. race riots while watching this film; clearly Cameron was inspired by those events while writing this script and the inclusion of this material stokes the flames of a situation that is rather tense and uncertain to begin with; calling the Los Angeles of this film a dystopia might be an understatement. Near the end of the film, there's a moment depicting the vicious beating of an unarmed black woman by the police which eventually sparks a riot when the crowd of mostly black people attempts to intervene. Strange Days may be a work of science fiction but it isn't afraid to serve that fiction with a side dish of grim reality and the recent glut of police-involved shootings of young, black men and the subsequent riots that they have incited all over this country have sadly only reinforced much of what this movie was postulating two decades prior. Ultimately, Strange Days wants to offer it's audience a rousing, entertaining experience but it doesn't shy away from the more unpleasant aspects of life along the way-- aside from the aforementioned riot, there are other moments in the film that will get under the skin of several viewers in the audience, not necessarily because they are particularly graphic, but because of the nature of what is transpiring - one especially chilling and disturbing display of voyeurism and murder comes to mind in which a SQUID is employed with sickening ingenuity. This occasionally makes the film a tough watch but ultimately the film doesn't dwell too much on its darker elements. I'm not gonna claim that this is a perfect film. Aside from my gripe with Lewis' lackluster acting, there are some serious flaws with the climax. Once again the "Talking Killer" cliche rears its ugly head- you know, the one where the bad guy holds the good guy hostage and then divulges his entire scheme to him. The script attempts to put a slight spin on this but that doesn't quite erase the slightly bitter aftertaste left by this plot device. This would have been enough to sink a lesser film but Strange Days maintains such a high level for most of its running that while parts of the conclusion are disappointing, they only do minimal damage in the grander scheme of things. In the end, the film manages to provide the exhilarating experience that it promises and it doesn't insult the audience's intelligence in the process.

Niccol N (us) wrote: Written by John Milius and Michael Cimino, and well directed by Ted Post, but yet it's an unneeded sequel to a landmark film. Less believable, and still too much reminescent of the original, despite the peculiar premise.

James R (kr) wrote: Enjoyable, different Vampire film from 1970.

Pamela K (gb) wrote: If they mean the movie with Dirk Bogarde where he plays Franz Lizst, then this is one of my very favorite movies.