"Skotten i Knutby - The Road Home" is entirely based on real events surrounding the drama in Knutby where the pastor Helge Fossmo manipulated nanny Sara Svensson to commit murder. The film also contains authentic interviews with former members of the church, which is still active. . You can read more in Google, Youtube, Wiki
- Stars:Joffrey Verbruggen, Thierry Hancisse, Sergi López, Pénélope Leveque, David Murgia, Hervé Sogne, Stéphanie Blanchoud, Jean-François Wolff, Luc Shiltz, Valérie Bodson, Alfredo Canavate, Liv Mjönes, Emil Almén, Anna-Lena Strindlund, Pierre Wilkner, Oskar Thunberg, Ola Björkman, Harald Lönnbro, Boman Oscarsson, Marina Westman, Lena Carlsson, Tobias Aspelin, Jesper Malm, Ulf Engman, Magnus Byström, John Eriksson,
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Phyllis G (it) wrote: idk why the critics didnt like it cuz we LOVED it!!!!!!!!!!!!!!! someone complained about the comic book style....which was modeled after punk magazine....so it was relevant and artistic. the script was well written and it captured the audience while informing the audience of highlighted facts. what's not to like.....and sooooooo much better than the rock of ages musical. puh-lease! dont get me wrong....that dog.....and some of the ppl w/in the music industry were filthy....lol.....but part of an art that is still alive today.....iow.....it is (the movie) what it was. amazing what comes from the bottom sometimes!!
Aftyn O (es) wrote: Couldn't stay watching
Christopher B (ca) wrote: Very very good. Definitely influenced by The Evil Dead.
Anders B (nl) wrote: Very well acted and powerful movie.
Ina S (gb) wrote: Technically, this is a bad, trashy film. But if you know going into it that you are gonna get exactly that and disband all disbelief (the woman takes out a whole army by herself!), you will have very fun, campy 1 1/2 hours. This is pure trashy entertainment, nothing more. Unfortunately I saw the cut Australian version where they didn't cut the violence, NOOO, they cut the romance between the two women. Because the girl getting the girl is obviously so much more controversial than unnecessary violence. Sometimes I doubt the sanity of our civilization ever so slightly. In the cut version, Jill Bennett covered in sweat and mud has to suffice as lesbian eye candy, then.
Ola G (ca) wrote: At the 41st Police Precinct in the South Bronx 18-year veteran Murphy (Paul Newman) is pretty much on auto pilot, looking to be a good cop, but also determined to do it with as little aggravation as possible by combining good police work with a social conscience. When new Police Chief Connolly (Ed Asner) come in and intends to get the cop killer who shot two rookie cops, the neighborhood begins to rebel with rioting against the police force and Fort Apache, the nickname for the 41st Precinct because to those who work there, it feels like an army outpost in foreign territory (an allusion to Fort Apache out of the Old West). Connely mandates arrests to be made regardless of infractions in order to find the killer responsible for the police murders, but when Murphy sees fellow officer Morgan (Danny Aiello) murder an innocent man, he must address his conscience to decide to confront his fellow cop. Given that his girl/pal Dominican nurse Isabella (Rachel Ticotin) is shooting drugs only adds to the internal conflict Murphy goes through having to balance his sense of right with community solidarity..."Fort Apache, The Bronx" is an uneven dark, depressing and partly hopeless tale of the long arm of the law in the largely devastated wasteland of the South Bronx. NYC in the early 80s was gritty and filled with all sorts of characters, thus the glitzy clean city scape of NYC today is something else. The former was of course a great setting to make a movie about cops in a part which was infamous at the time of being quite dangerous. We get a close up of poverty, despair, racism, drugs, prostitution, police corruption, violence and the mentality of a place under siege. Paul Newmans Murphy tries to do his job, but his conscience is in a constant conflict, and Newman does a great job to portray Murphy. Ken Wahl is good as his partner, Ed Asner is good as the Captain, Danny Aiello works well as the corrupt and violent Morgan, Rachel Ticotin (such a beautiful actress) is good as Isabella and its interesting to see Pam Grier tackle the drugged out prostitute Charlotte. I do agree to some of the critique I have red, that its not fully balanced and theres no real plot. It feels more like a set of events stitched together. I do like the analogy of the precinct being like "Fort Apache" and I also do like to re-see the good old NYC cop uniforms from the early 80s. "Fort Apache, The Bronx" has great acting in it, but miss out on a more worked out plot line to really satisfy.
Carlos M (ca) wrote: A sadly misguided film that deserves more credit for what it wants to say than for how it does it, since it is marred by stiff, unnatural performances by non-actors (like watching a school play), heavy-handed dialogue, a redundant narration and a formal rigor not so in tune with the kind of neorealist docufiction that Visconti wants to make.
Blake P (us) wrote: Perhaps there will never be a film regarding teenage dissatisfaction more iconic than "Rebel Without a Cause." Not because of its merit of the way it's aged, mind you - it all has to do with James Dean, who, despite only having starring in three films and tragically dying at the age of 24, has become a legendary figure of the cinema due to this film and this film alone. A surprise? Not really: just look at his Brando echoing performance, the way he has a star magnetism you can't quite put your finger on. The film has dated rather supplely in the sixty-plus years since its release, but Dean's characterization hasn't. His intensity, paired with the overwhelming scent of untimely death, makes his performance such a grand statement that it becomes deeply imprinted in our minds, a branding of idolization hopeless to withstand. I can think of few films containing a similar kind of explosion of talent while being rather effete themselves. Not old enough to have lived through its release myself, I know little of the social statement it must have made when it settled into theaters in 1955 like an odd man out. It's sometimes melodramatically spurious, appearing as a filmmaker's notion of what teenage life really is rather than a true-to-life commentary, and it is often romantically tragic, so overzealous to sell its breathy vehemence that it forgets about the wondrous possibilities subtlety can bring. But intact is its divine aimlessness. It doesn't come to a specific conclusion concerning teenage life and its many rebellions, instead standing as an intimate observer paying special attention to causal forces backing mutiny. We're witnesses to petty knife fights, exchanges of "I love you's" more a result of romantic excitement than knowing authenticity, pathetic assemblings of makeshift families out of friends, and general defiance shrouded in a haze of youthful stupidity, all seemingly ramifications of torrid family lives and constituent issues with self-actualization. Some of the film's characters act atrociously because their fathers are not the masculine, stoic figures they'd wish them to be, others because they have no adult figures to look up to to begin with, and many because there simply isn't anything better to do besides wreak havoc. "Rebel Without a Cause" is interested in why its focal teenagers act the way they do (keep in mind that it isn't intrigued by the well-adjusted, more the ones terrified of looming adulthood), but more important is the scrutiny of their actions, and how their relationships with one another often make up for what's lacking in terms of home life. Directed by Nicholas Ray, a filmmaker whose career consists mostly of movies bemused by the complexities of human nature ("In a Lonely Place," "The Lusty Men," "Johnny Guitar"), it is a film of vision and adulation whose oft contrived tendencies are made up for with satisfying zeal, topped off with sensational performances from its young cast. Of course, the best thing about "Rebel Without a Cause" is James Dean, who stars as Jim Stark, an unsettled teen whose run-ins with the law have all but shattered the dynamic of his family. His mother (Ann Doran) domineering and his father (Jim Backus) emasculated, town hopping has taken up most of his teenage years - he has few, if any, healthy personal relationships. Acting out is almost inevitable, as sitting back passively and letting his pessimistic thoughts brew would lead to perhaps even more destruction. The film takes place during the first few hours of Jim's getting settled into his new placed called home, which, understandably, is quickly marked by a brush with the police. Wanting to start his life anew afterward, he considers the possibility of embodying what's expected of a "good boy" on his first day of school, until a bid for attention is taken hard by the town's most prominent pack of juvenile delinquents. First involved in a knife fight and later in a drag race that ends lethally, his searching for himself is further complicated when he becomes a part of the lives of Judy (Natalie Wood) and Plato (Sal Mineo), a pair of similarly tormented youths. Covering the events of a twenty-four hour period, it is to be expected that "Rebel Without a Cause" isn't much keen on a tidy ending. It thrives when reflecting the thoroughly uncertain mental states of its leading characters. One can consider that "Rebel Without a Cause" might have been a better film had it been made decades later, when melodrama wasn't always a go-to tone even when aiming to go for parallels of the kitchen-sink mindset, but it is still effective and emotionally sturdy, mostly in part to its incredible performances, which hold up in their sincerity. Dean, looking like an icon in his every move with his white T-shirt and fire red jacket, is astounding as a young man so picked apart by his inner demons that we can hardly blame him for his lashing out. The all-too convincing portrayal of his unstable family life is enough of a justification - a set of supportive authority figures is not something familiar to him. Wood, only seventeen here, is excellent as a girl who wants to be good, but is too indulgent in risk to remain so (unnerving is her relationship with her father, who seems to have an uncomfortable attraction to her); Mineo is heartbreaking as the closeted homosexual (a fact more apparent now than it might have been in 1955) whose neglect results in ultimate catastrophe. Watching "Rebel Without a Cause" is like viewing a cultural artifact, maybe not as potent as it was upon release but still powerful all the same. It is iconic mostly for its terrific Dean, whose death still remains to be one of Hollywood's biggest tragedies (we can only wonder what other tour-de-force performances he might have given in a healthy lifetime), and yet we cannot resist the sum of its parts; it grabs us by the lapels, its datedness there but not focal.
Pia K (br) wrote: Hyvn mielen elokuva, vaikka juoni olikin erittin ennalta-arvattava. ;) (Suom. Sinulle on postia)
Nathan S (kr) wrote: The film looks at what could have possibly been if a young Adolf Hitler had been more accepted in the art community.
Jason S (es) wrote: Basic slasher flick that wasn't anything special. Horrible pacing brought the film down.