doctor ' s orders ( film )
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grazia blithely ignores her doctor’s orders and surreptitiously devours a forbidden macaroni casserole. maria, from whom valeria wrested the television set, sneaks off to a nearby cafe for a drink .
bilge ebiri writes about film for new york magazine and bookforum. he is also the director of the feature film new guy (2003) .
comedy in which a hospital doctor discovers that his father is a market quack .
the cast and crew credits, as well as the film' s title, are given orally by twin sisters .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
professor samuel kassow describes what happened on august 12, 1952, when many yiddish poets and jewish figures of the anti - fascist committee were executed on stalin' s orders. the doctor' s plot, which erupted in january 1953, was the next stage in stalin' s cycle of conspiracies .
reviewed at venice film festival (orizzonti), sept. 3, 2016. (also in toronto film festival — platform .) running time: 103 min. (original title :
réparer les vivants
)
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
i like comedian leslie fuller, but he' s rarely in any good comedies. there is nothing particularly bad about doctor' s orders (1934). just hums along in it' s way. there are a few scenes which you sense could have been funny where they didn' t put enough effort in making them such. forgettable feel - good story too .
but breast cancer has been more frequently and, perhaps, better dealt with by tv movies (lifetime’s short - film anthology “five”) and medical - themed series (“grey’s anatomy” or “er”) than it has on the big screen .
magda follows doctor’s orders after her operation and heads to the beach with her son, uncomfortable with his mother’s physical changes, and the introverted arturo, who steadfastly keeps matters platonic even after his wife dies. with a 70% chance of being cancer - free, she is determined to carry on by bravely shaving her hair, wearing a wig, using a prosthetic breast and plotting to buy new “boobs. ”
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
doctor' s orders
guards a similar secret (funny how the same twist aired six days apart on two different tv shows), although in this case i' m not so sure it guards it so well, since i had clearly figured it out ahead of time. (the only tiny remaining doubt: maybe i was being tricked into thinking there was a twist, and there actually wasn' t one and they were just using weird events to make me think there was. talk about over - analysis. as data once said ,
knowing that he knows that we know that he knows ...
) all the hints are clearly there in
doctor' s orders .
the second phlox offers to walk t' pol to her quarters, the jig is up .
this routine second world war drama finds the normally reliable dirk bogarde slightly off - form as a pilot grounded on doctor' s orders. his determination to continue flying is deflected momentarily by his love for naval intelligence widow dinah sheridan and the disappearance of comrade bryan forbes after he' s caught tinkering with a code machine. it' s all pretty much as you' d expect, but a little more insight into the lives of the air crews would have filled in the gaps left by the absence of flag - waving propaganda .
alabam is lovesick. he tells mickey how he can' t get close to the girl of his dreams; he' s overheard by dave, a smooth operator, who insists that alabam leave everything to him. he contrives to have alabam and mickey wreck alabam' s car in the girl' s front yard, then he arrives, posing as a doctor, asking the residents of the house if they' ll let the injured boy come inside while the doctor examines him. meanwhile, mickey gets a look at the girl' s cousin and feigns injury so that now both lads are in beds upstairs while dave, the doctor, conjures foul - tasting treatments. the fly in the ointment is the girl' s crusty uncle, who may stand between the lads and their true loves .
the film takes on gabrielle’s listlessness, slumps into an opiated fug. the malady is mysterious and not easily treatable. it just exhausts you. it transforms from a story about release to just another jail. at times it felt like there was no escape .
the couple move to the coast, where dependable josé begins to build a house. gabrielle is still afflicted, now with paralysing cramps that may or may not be real. she’s sent, on doctor’s orders, to a spa in the swiss mountains. there – finally – she meets someone who might help her escape herself: a floppy - haired hottie called andré sauvage (louis garrel). a veteran of the war in indochina, he’s picked up a kidney infection that manifests itself in bouts of exhausted sighing. his treatment is gob - fulls of opium and the odd manly grunt to help through the pain. all this byron - esque suffering is, unsurprisingly, right up gabrielle’s street .
it doesn’t take a scholar of narrative structure to figure out how these two narratives will be joined, quite literally, at the heart, but quillévéré observes medical process — and the worn bodies that undergo them — with a reverent, methodical exactitude that should have viewers knotted in tense concern regardless. the film has no need for trumped - up reminders of life - or - death gravity, nor for agitated cutting and scoring as doctors shout imperatives at each other: it’s the quiet human details of the situation, as parents’ final sentiments are relayed to unconscious ears, or tentative smiles of understanding are exchanged across waiting rooms in the early hours, that land like the benevolent of punches to the gut. “careful, no powerful emotions, ” claire wryly cautions her loved ones at one point, repeating doctor’s orders but knowing it’s far too late for such restraint .
that fusion of formal and emotional fluency should make “heal the living” the helmer’s most widely distributed work to date, and deserves to fix her name in producers’ minds for even more ambitious, potentially international, crossover projects. dazzlingly composed and choreographed, the film’s opening stretches may surprise admirers of her earlier, earthier films, as tom harari’s lithe, gliding camera tracks tattooed teenager simon (gabin verdet) from a secret tryst in his girlfriend’s bedroom to a late - night bicycle joyride through his hometown of le havre to an early - morning surf appointment with friends .
obviously, the fact that t' pol isn' t real is hidden from the audience more for our benefit than for phlox' s, and the fact that it' s t' pol whom he imagines is for obvious script reasons: she' s a vulcan and could logically be immune to the anomaly' s effects .
the conundrum continues: how do you do an inspiring breast - cancer story without depressing the audience or resorting to clichés? “miss you already, ” while more original, already showed what happens if you go too far in the other direction. still, if “ma ma” encourages just one woman to examine herself regularly and not wait to see a doctor if something seems amiss, at least the film will stand as a rather stylish public service announcement for early detection .
utterly amazing! i was surprised to see voyager ripoff tng in ex post facto but i never thought enterprise would ripoff voyagers few original idea' s! lucky for this show phlox (psychotic doctor that he is) is one of the few characters i like behind porthos but ahead of hoshi and reed. 2 stars .
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to gianni’s mild chagrin, luigi arrives not only with his mother but also with her sister, maria (maria calì). coincidentally, gianni’s doctor (marcello ottolenghi) pays a visit to monitor gianni’s blood pressure and prevails on him to take in his own mother, grazia (grazia cesarini sforza), who is afflicted with an array of ailments that require several medications and strict dietary guidelines. suddenly gianni, reduced to sleeping in a deck chair, is single - handedly running what amounts to a temporary geriatric ward .
a lot has been made of female sexuality coming to the fore at this year’s cannes. from the land of the moon continues the trend to a degree. it’s implied that much of gabrielle’s pain is rooted in sexual frustration. there’s a lot made of what gabrielle calls “the principal thing”. this, in agus’s novella, is love. but garcia suggests sexual fulfilment is strong in the mix here too. in an early scene gabrielle stands, dress hiked up and lets a river wash over her. it’s the pursuit of orgasm as escape. getting off to get out .
directed by gianni di gregorio; written by mr. di gregorio, based on a story by mr. di gregorio and simone riccardini; director of photography, gian enrico bianchi; edited by marco spoletini; music by ratchev and carratello; production designer, susanna cascella; costumes by silvia polidori; produced by matteo garrone; released by zeitgeist films. at film forum, 209 west houston street, west of avenue of the americas, south village. in italian, with english subtitles. running time: 1 hour 15 minutes. this film is not rated .
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daniel blake is an affable 59 - year - old middle class widower in newcastle recovering from a heart attack and seeking fi - nancial assistance from the state. government illogic stipulates that his benefits will be taken away unless he looks for work, yet doctor’s orders prevent him from working. at the welfare office, daniel meets single mother katie, whom he befriends, offering his platonic friendship and gentle, grandfatherly support to her and her two children. deservedly the winner of the coveted 2016 palm d’or award at cannes, this is a rare and unapologetic political drama which touches the soul and reminds us of the power of simple compassion. director ken loach and the outstanding lead actors have created fictional, yet very real people, whom we will not soon forget .
the ladies who lunch in gianni di gregorio’s luminous sliver of a film, “mid - august lunch, ” are roman women in their 80s and beyond who have gathered in a small condominium in the trastevere neighborhood. the modest apartment is the home of gianni (mr. di gregorio), an unemployed 50 - something bachelor, and his 93 - year - old mother, valeria (valeria de franciscis) .
with: gianni di gregorio (gianni), valeria de franciscis (valeria), marina cacciotti (marina), maria calì (aunt maria), grazia cesarini sforza (grazia), alfonso santagata (luigi), marcello ottolenghi (doctor) and luigi marchetti (viking) .
katell quillévéré' s superb third feature is a wrenching medical drama that blends dazzling formal polish with rawest emotion .
dr. charles walker returns to allison' s dreams, and this time it involves one of her daughters .
not to mention it has phlox' s letter narration, ending with him deciding to leave the hallucinated parts in .
bill blake, a jovial con man is known to friends and his son as a traveling salesman, but in reality operates a phony medicine show, complete with singing, a monkey, and audience shills. his son ronnie has studied to become a doctor and internes at a nearby hospital. the boy' s love interest is a nurse there, but his rival is anxious to expose his father as a market quack to ruin him .
one of the film’s deepest satisfactions is its characters’ complete lack of ruminative psychologizing. when the women look back, it is with a sense of having lived full lives. had “mid - august lunch” wavered from its matter - of - fact realism, it might have toppled into sentimentality or morbidity. instead it is a group portrait of people who are comfortable with who they are, savoring the pleasures of food and companionship and living in the moment. the movie glows .
considering that the disease is currently the nation' s most common cancer according to the american cancer society, there are surprisingly few of note. of course, the 1983 oscar - winning “ terms of endearment ” is the grandma of such weepers. then there was last year’s buddy pic “ miss you already. ” both 2003’s “ pieces of april ” and 2005’s “ the family stone ” are centered on holiday - themed family gatherings where the matriarch is at risk. and the 1967 camp classic “ valley of the dolls, ” of all things, had sharon tate ’s sex symbol desperately opting for suicide after her diagnosis .
' s real - life son, enzo, can been seen on the dubois' refrigerator, spelled out in magnetic letters .
man, what a rip - off of voyager' s
one
. enterprise ripped off a lot of previous st scripts, unfortunately .
allison is again dreaming about dr. charles walker with whom she' d had a previous encounter. unfortunately, she' s also under arrest. it all started several days before when she and joe refused ariel permission to go to the movies with a 14 year - old boy. it turns out walker has been speaking to ariel in the school library and encouraging her to ignore her parents rules and just not tell them what she' s doing. when allison drops the girls at school, she sees walker talking to dr gramado, the father of the boy who wanted to take ariel to the movies. ariel decides to go to a party at the boy' s house without telling anyone but allison finds out what is going on and rushes to the gramado house where she misinterprets what she sees and assaults the doctor .
basically the story of a man forced to finally see the injustice around him. riley’s movie is designed to do the same thing to you. …
the surfing footage that ensues has a diving, deep - blue majesty that outstrips more hi - octane hollywood depictions of the sport for sheer kinetic wonder; however high the narrative stakes, “heal the living” takes several such moments to consider the world its characters are merely passing through. the ocean, meanwhile, serves as a motif of life and death throughout the film, though not in the expected way. on the drive home, through a half - dreaming motorist’s eyes, the road turns to rippling water — a split - second before a crash that sends simon fatally through the windshield .
i' m not one to hate or bash enterprise and this wasn' t a bad episode but it was clearly a rehash of voyager' s one .
i have to day, i didn' t see the ending coming... because i had already considered and rejected the possibility. if t' pol was under, why wouldn' t the doctor remember putting her under? he should' ve said
t' pol did you wake up ?
but he didn' t. so i assumed i missed something. turns out i didn' t .
roger ebert' s speech on empathy for the
11th hour
series on april 9th, 1994, being republished here in honor of his birthday june 18 .
it' s not until near the end of act one where we even see that t' pol is still walking around the ship. it' s a nice little craftily hidden surprise that keeps us just a little off - balance — and, of course, provides a major hint that telegraphs the twist at the end .
production: (france - belgium) a les films du bélier, les films pelléas presentation of a france 2 cinema, mars films, jouror, cns prods. , ezekiel film production, frakas prods. , rtbf, proximus production in association with la banque postale image 9, manon 6. (international sales: films distribution, paris .) produced by david thion, justin taurand, philippe martin. co - producers, jean - yves roubin, cassandre warnauts .
noteworthy is how useless t' pol proves in these scenes — how she never takes action or pushes buttons — and it' s a rather obvious hint that tips us off to the ending: she isn' t doing anything because she isn' t really there. i have mixed feelings on jolene blalock' s performance, which eventually degenerates into a series of weird facial expressions amid t' pol' s increasing paralysis — which may be the point, but comes across as a little off .
the ending of sixth sense surprised you? wow! while i enjoyed the film, i thought it was blatantly obvious from the opening scene (given what happened). thus, the whole t' pol thing in this episode was a real cheap shot. archer clearly said he was leaving phlox with this responsibility in the first 5 minutes. obviously he wouldn' t have said that if t' pol had been concious too. so from the moment we see her, we know something is wrong. then they make the mistake of having the meal in the kitchen, where t' pol doesn' t eat. so what more proof do we need? it is a shame that they couldn' t have worked this one out a little better. without archer' s speech to phlox, t' pol' s appearance would have made more sense .
when the condominium’s manager, luigi (alfonso santagata), informs gianni that his bill for electricity and other services has remained unpaid for three years, a deal is struck. if gianni will look after luigi’s mother, marina (marina cacciotti), for a couple of days around ferragosto, the italian holiday celebrated on aug. 15, his debts will be forgiven .
ten weeks is obviously not an option, especially given phlox' s (and t' pol' s) mental state, so phlox (and t' pol) must figure out how to start the warp engines and pilot the ship out of here. the resulting scene shows exactly why starships need engineers, and why going to warp speed necessitates an engine room staff .
gabrielle and her husband, josé (alex brendemühl) are taking their son to a regional music competition, where – in respect to mama’s gloomy sensibilities - he’ll mournfully trot out some tchaikovsky. the mood in the car is peculiar. mum’s distant, dad and son clearly more connected. they roll into lyon in a funk. then gabrielle spots an address that stirs a violent memory. and from there, we’re off .
2 stars filler. rehashed from voy’s “one” which itself was not very good. meh and my patience by this point in the season was thin seeing the writers just drag out the xindi arc week after week stalling
i' m sure some will argue that there isn' t much story here. they would be correct. it' s essentially a two - character show, the impetus of which is a silly spatial anomaly with arbitrary properties. and, no, the ending is hardly the surprise that it wants to be. but that' s okay. this is an acting showpiece, and a technique showpiece, and a fairly entertaining one .
the premise is that the entire crew (less phlox and — sort of — t' pol) must be put into a comatose state so the ship can travel through a massive spatial anomaly (the same type as the one encountered in last week' s
harbinger
) that would cause the humans fatal brain damage if they were awake. phlox' s denobulan physiology makes him immune to the effects. also immune to the effects are t' pol (sort of) and the captain' s beagle, porthos. passing through the anomaly will take four days at full impulse; trip warns that to attempt going through at warp would be too risky .
when t' pol suddenly showed up, i was surprised. didn' t he put her to sleep too? so, i thought: oh! she' s a hallucination too. but then as the show went on, i kind of figured that maybe she wasn' t. but then when the end came near, i realized that she was. so, i guess i knew, kind of. but i was satisfied. i liked the way it all played out. and i really liked the freaky hoshi scene. > > the ending of sixth sense surprised you? wow! while i enjoyed the film, i thought it was blatantly obvious from the opening scene (given what happened). the grand majority of people who saw sixth sense were surprised by the ending. guess we all are not as clever as you .
haha jammer your reviews tend to attract the most pedantic cynical commentors i' ve ever seen. i don' t now it that' s the star trek fan base or a combination of factors. one' s things for sure i wouldn' t want to go to a party with any of these folks... . i' d probably commit suicide just to get away from them. and to the people saying
y don
t dey jus go under? !
why would a spacial phenomena expand in only 2 directions. do we live in a 2 - d world? no, nothing is restricting it' s expansion therefore it will fill space in all 3 directions .
this was my favorite episode of the season so far. i initially groaned when they argued that it would be faster to fly through something at impulse than to warp around it. that' s like arguing that it' s faster to crawl through the everglades on your hands and knees rather than to fly over them in an airplane. but technobabble not withstanding, i really got interested in the episode and became genuinely concerned about what they might have to sacrifice in order ot make it out of the anomaly in one piece. credit for that absolutely has to go to billingsley' s phlox who remains my favorite character of the whole ensemble. this was truly how star trek was supposed to be made. well done !
but for all of these artistic touches as a director, medem the screenwriter disappointingly provides zero female support in the form of relatives or friends for magda, save for a kindly nurse. instead, her handsome married gynecologist julián (asier etxeandia) seems to have endless time to devote to magda’s well - being, including serenading her now and then with cheesy love ballads. she also runs into a kindly soccer scout named arturo (luis tosar) at her son’s match, just as arturo receives the tragic news that his daughter has died in a car crash and his wife is in a coma. how convenient that they can rely on each other to fill their emotional gaps as magda’s husband gallivants about all summer with a beautiful student .
when gianni runs out of food, he goes shopping for fish reeled directly from the tiber river and brings them back for a holiday feast he cooks with his best friend, viking (luigi marchetti). the movie’s scenes of food preparation are mouthwatering .
but when magda receives bad news, the movie’s last third suddenly turns into a mawkish hallmark card. probable death is seen as a glorious opportunity for love, happiness and freedom; a miracle assures her that her valiant spirit will survive no matter the outcome .
amid the teeny conflicts, there is no high drama and little overt pathos beyond grazia’s observation that “without memories, what would you do? ” the performances by nonprofessional actors are so perfectly natural that “mid - august lunch” often has the feel of an easygoing documentary .
as you might guess, dr. lucas, i had considered deleting this letter and starting over, since large sections of it are now, obviously, fictitious. however, i decided that my delusional account would probably prove entertaining .
— phlox' s letter
from the land of the moon is a choc - cake rich drama that oozes along on the strength of a committed performance from cotillard and the odd sprinkle of visual flair. it presents a kind of no - frills silliness, almost tricking you into believing its balderdash. it’s based on italian author milena agus’s 2006 novella, which has been relocated by director nicole garcia to 1940s provence, the french coastal town of la ciotat, the swiss alps and lyon, sometime later in what looks to be the mid - 60s. the story is told in flashback from this point .
this is the most bored i' ve been all season. 1 star from me, but part of the reason for that is i simply don' t care about phlox at all. he' s okay as a supporting character but i have no interest in episodes devoted to him .
reedom, as the far left used to say, is the right to choose your jail. school, job, family, marriage: no cage is distraction enough for gabrielle (marion cotillard), who – with a dreamer’s conviction – will do anything to escape the box being built for her .
yep, saw it coming but not immediately. when t' pol first appeared, i was just like
wtf ?
however as the show proceeded i could see that she was never interacting with anything, and she wasn' t telling phlox anything that he didn' t already know, etc. so i guessed that she was just in his mind and that they were going for the sixth sense ending. jolene' s befuddled bubbleheaded facial expression when she' s supposedly trying to find some control in engineering was priceless! i almost had to pause the ep, i was laughing so hard. 3 * indeed, agreed .
@ jeff: that' s because space has always been treated as two dimensional in star trek. of course, if you want a in - universe explanation, you could make up something about the anomaly being (approximately) spheric, meaning that the way over or under it was as long as the one around it .
i quite enjoyed this episode. if we' re going to have a diversion from the xindi story arc, then this is the sort of story i' m happy to see, certainly much more entertaining than that groan - worthy harbinger ep. personally i' m just glad when the writing and execution can sucessfully achieve a clear goal, even a simple one, without reaching for lazy solutions, and i don' t think that' s an issue here. it does strongly resemble voyager' s
one
in many ways, but i consider it a sufficiently different take to be worthwhile, and good further development of phlox' s character. and the atmosphere of the story was well realised. this isn' t a deep story, but, it isn' t dumb, and i' m always grateful of that in a trek episode, because you can' t take that for granted... the truth about t' pol isn' t overly hidden, plenty of clues are there, enough to make an attentive viewer fairly sure that she' s imagined, but not quite 100% sure for a while, at least. and so i think the twist works well even if you do see it coming, because you get to say
ha, knew it !
much better is billingsley, who displays a range that begins at affable and ends up at frazzled, but all the while comes off as
phlox .
the thing about phlox is that he has an overly expressive, cheerful style of speech. most people typically only speak like that if they' re on stage or in some other stylized medium (like, say, star trek). but with phlox, it' s his everyday style, and we accept it because he' s a denobulan — but more importantly because billingsley brings a credibility to it. this is a solid and versatile performance, delivered within the boundaries of phlox - isms .
t' pol is in no better shape than phlox, and is losing control of her emotions as a result of the anomaly' s effects. in retrospect, i like the idea that t' pol falls apart just as phlox does; since they are both really just phlox, it makes sense that they would both go insane at the same time .
just by being an episode that tries to scare the viewer, it loses a star in my opinion. i never liked or understand the fun of scary movies. as seen in this episode, there is basically no story but phlox running around being scared while we listen to the typical scary music and the sudden scary imagery that pop up on semi - unpredictable cues. while i liked the monologues and the phlox / t' pol interaction, i really couldn' t get past the fact that this is just a rip - off of
one
, only with the roles reversed. both have the logical scientific
babe
and the doctor, an evil nebula, an unwillingness to go around it, only humans effected (sort off), hallucinations of scary stuff and invading aliens, main character loosing her marbles, engine problems at the end, etc. where
one
still had an interesting insight into seven, this only shows typical horror show clichés .
or, in the case of scrubs, perhaps you are too busy laughing. a similar narrative twist — with a reasonable level of underlying poignancy — appeared at the end of this week' s episode. i wasn' t expecting it at all, perhaps because scrubs is not the sort of series where you expect a twist like that. but the clues were there .
valeria, whose elaborate, swept - up hairdo suggests a copper - colored froth of whipped cream, is the most imperious. for a while she commandeers the apartment’s only television and sets herself apart from the others. once settled in, the women engage in small acts of self - assertion. one unashamedly flirts with gianni. another gripes about the kind of pasta being prepared .
the twist at the end, to get this out of the way, is that t' pol isn' t and never was awake during the time phlox is tending to the sleeping ship. she' s a figment of his imagination, apparently designed by his mind to keep him from becoming completely unhinged, which happens gradually as a result of unforeseen effects from the anomaly field .
i agree with marco p and brock! reading the comments on jammer' s review scares me. there are some really creepy and cynical people on here. anyway, i think phlox is one of my favorite characters of all star trek series among data, worf, and captain picard. but i cannot help wonder if the writers were out of ideas so they were picking ideas from previous series .
why are all the doctors on star trek so awesome? well... crusher not so much, but that series had picard. : p i still like the doctor the best, but phlox is still up there... as to the t' pol thing, i would say its only logical for his mind to be able to imagine her instead of anyone else. as you have noted many times, the vulcans have super plot immunity, and no doubt his plot driven brain would realize this and think of her as merely immune whereas the humans he would be forced to help. he could conjure up some denobulans, but this would take a bigger leap of faith then' t' pol is vulcan immune'. as phlox degenerates more though, more humans are seen, showing logic is slowly being strangled into submission. i wonder if the thing really expended at all or if that part was in his head too. the plot never makes that point clear, although of the verious figments seen throughout the episode it would be the most believable ...
star trek has, of course, done it may, many times, but i' ve always loathed the notion that a particular anomoly only affects organic lifeforms selectively (and almost unilaterally, humans are the vulnerable species) because it makes little logical sense. radiation, poisonous gas, or whatver else working that way is simply ridiculous. it' s a bad as the asteroids or the storms or the holes in the ozone layer in countless disaster movies (armageddon and the core come to mind immediately) that seem to have minds of their own because they inevitably target urban areas when the locations should be completely random. i guess it' s not as thrilling to see a wheatfield in north dakota get obliterated as it is to see asteroids decimate new york, electrical storms demolish rome, or cosmic rays melt the golden gate bridge .
completely obvious from the start. gee, t' pal was a hallucination? what a shock. dumb ending. i think the complete obviousness of t' pal' s illusion - how could we really think otherwise? - ruined the episode. even if you were completely dense, the drawn - out engineering scene where she was a helpless fawn made it plain, which rendered the ended
no shit, sherlock
.
it probably doesn' t really matter, because the story is more concerned with structure and technique than deep psychology or character significance. on those chosen levels, the episode works pretty well, giving phlox a series of hallucinations that he eventually recognizes as unreal and must cope with. one hallucination is his deranged hunt for the xindi insectoid, which ends when he nearly phasers porthos. (t' pol :
you nearly shot the captain' s dog !
)
elsewhere the expression of inner turmoil is a lot less interesting. there is loads of gabrielle running away desperately - into the woods, the sea, a ditch. cotillard’s ability to tear up in an instant is used to the point of exploitation. gabrielle is, on many occasions, simply too nasty to care about. “every time you visit it rains, ” she tells josé. “people are right: you’re mean, ” he says later. he sticks around, still .
i predicted a different plot twist - i thought an alien lifeform had assumed t' pol' s form to hitch a ride through the spatial anomaly. would explain why t' pol appeared without warning and wasn' t sure how to operate the warp engine. when phlox saw the real t' pol asleep, i assumed that he was going to turn to the other t' pol and ask who she really was - and why she had delayed the ship from getting out of the anomaly .
decorating these sentiments are claw - flapping red crabs near the water, perhaps a symbol of the disease that ironically has given her inner strength and wisdom. and, in a recovery - room reverie, we are treated to the sight of magda’s beloved nipple preserved on ice. but more important than the washed - out blue - tinged rooms, bleached white interiors and sun - blasted sea and sand is cruz, who single - handedly breathes a sense of genuineness into this maudlin exercise even if she can’t cure all of its flaws .
i am surprised no one mentioned the easter egg of phlox thinking something was outside the window on the hull. it seemed like an homage to shatner' s pre - trek twilight zone episode, where he sees a creature on the wing of the plane he is on. as for the twist, i was surprised to see t' pol the first time she appeared, but did not consider that she was not real until the end. i wasn' t exactly surprised as much as it just made sense given what had proceeded it .
this episode really falls apart if scrutinized. it' s something that has a lot of holes if thought of too much. for instance, if t' pol was asleep, did that mean phlox never checked on her? didn' t she need some form of sustenance while asleep? also, where did the crew
relieve
themselves? just right in their uniforms? were they all given adult diapers? for that matter, why were they even in their uniforms while asleep? while i was surprised by the ending, and enjoyed this episode, i did feel it was a cheap trick. it seems that someone came up with the ending, and then said
okay, now write what happens forty minutes before this !
overall not bad, especially since it dealt with phlox who is well played by billingsley. i saw the plot twist with t' pol well before the reveal, but my wife didn' t see it coming at all. i think those of us with training or exposure to scriptwriting or story analysis caught it because we look for such things while watching a story. we know that a gun revealed in a camera shot means that gun is going to get fired at some point in the story. for others, it' s a surprise. seeing the
twist
in advance doesn' t mean anyone is smarter or more prescient, it just means we all approach our story time in a different manner and outlook. that said, i didn' t see the sixth sense plot twist coming, though seeing that movie probably helped me in this episode to detect the similar twist .
and to the people saying
y don
t dey jus go under? !
why would a spacial phenomena expand in only 2 directions. do we live in a 2 - d world? no, nothing is restricting it' s expansion therefore it will fill space in all 3 directions .
i' m pretty sure everyone understands it is 3d (or beyond). the question is: why isn' t it faster to go around the anomaly at warp 5 than to go through it at full impulse? must have been a pretty big pancake of an anomaly. but then it expanded in thickness pretty fast so that seems unlikely. it made little sense to me and i' d have loved an explanation in the episode. any sort of pseudo scientific explanation on what sort of anomaly it was would have been interesting. what made trek insteresting to me was the exploration of possible phenomena. here they just ignore any attempt at justifying it .
this holds water to a point, since phlox is no more aware that t' pol is a hallucination than we (at first) are. on the other hand, the question
why t' pol ?
is an interesting one, and it raises some issues that the story doesn' t really address. if this hallucination is designed to help phlox deal with his isolation (denobulans do not like isolation, and there' s dialog explaining how they choose to live in crowded cities on their homeworld), why would his mind pick t' pol, who tends to keep to herself both in real life and in this hallucinated version? why not pick someone he knows better, like one of his wives or a close friend? if he must imagine someone from the ship in order to fool himself into believing that he is not alone, would his mind really pick t' pol? (i ask in sincere curiosity, not purely as a nitpick. perhaps he identifies with t' pol as the other non - human outsider. )
phlox talks about waking his medical crew after waking the senior staff. aside from the revelation that he actually * has * medical crew, it does explain why he might not know that t' pol had been put under - - it' s possible his crew did it. however, yeah, i' m one of the people who saw through the thing the moment t' pol showed up. they talked about him having to run the ship single - handedly. they prepped him to do that. he had stuff he needed to check, he had to learn how to navigate, how to fix stuff in engineering, etc. hell, he was * walking around the ship naked *. after all that, t' pol showing up was nothing short of a
wtf? ?
moment. after reading that there was some sort of twist at the end, i was really expecting it to be something * else *, since i couldn' t imagine they would try to use something so blatantly obvious as their twist ending - - much less that people would actually fall for it. i guess everyone watches differently, though .
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the boys stage phony accidents so the girls will have to nurse them back to health .
go behind the scenes of the mission: impossible movies, check out the latest videos and trailers, and see which spy movies topped the box office in our mission: impossible guide .
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mickey daniels and grady sutton drive their car across the lawn in front of the girls' house and crash into a tree, leaving very prominent tire tracks on the lawn. although this happened several minutes into the story, the tire tracks are clearly visible in the opening scenes - before the car was driven across the lawn .
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bill blake, a jovial con man is known to friends and his son as a traveling salesman, but in reality operates a phony medicine show, complete with singing, a monkey, and audience shills... . see full summary »
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
bip did not close in 1939. they had been renamed associated british picture corporation. although their studios at elstree were closed at the commencement of war they continued to make films at welwyn garden city. consequently their films could not have acquired the status of public domain .
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leonard maltin classic movie guide, copyright 2005, 2010. used by arrangement with penguin group (usa) inc .
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sorry, we don' t yet have a full guide to this comedy .
© 2018 guardian news and media limited or its affiliated companies. all rights reserved .
tahar rahim, emmanuelle seigner, anne dorval, bouli lanners, kool shen, monia chokri, alive taglioni, karim leklou, alice de lecquesaing, finnegan oldfield, theo cholbi, gabin verdet, galatea bellugi, dominique blanc. (french dialogue )
crew: directed by katell quillévéré. screenplay, quillévéré, gilles taurand, adapted from the novel
mend the living
by maylis de kerangal. camera (color, widescreen), tom harari; editor, thomas marchand .
with: tahar rahim, emmanuelle seigner, anne dorval, bouli lanners, kool shen, monia chokri, alive taglioni, karim leklou, alice de lecquesaing, finnegan oldfield, theo cholbi, gabin verdet, galatea bellugi, dominique blanc. (french dialogue )
a 17 - year - old car crash victim lies brain - dead in hospital, as doctors urgently pitch the virtues of organ donation to his distraught parents; over in another town, a middle - aged mother of two with a severely degenerative heart condition goes on the waiting list for a transplant. what sounds like fodder for a routinely gripping episode of [ … ]
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shush! - growing up jewish under stalin. a memoir by emil draitser .
roger ebert was born on this day in 1942, and died a little over five years ago. i owe a good part of my success…
a look back at robert zemeckis' half - animated classic, who framed roger rabbit, on its 30 - year anniversary .
knowing that the spanish drama “ma ma” is about a woman coping with breast cancer, i was curious to check out beforehand how many well - known hollywood films have tackled the subject in the past .
“ma ma” could be a case study on why that is, despite capitalizing on the considerable charms of penelope cruz, who is both star and producer. she is present with every pulse of her being as magda, a young mother in madrid who learns in the first scene that she must undergo chemo, followed by a mastectomy. she initially frets more about the pending loss of her right nipple (an ongoing theme) and having to reschedule her hair appointment than she does the status of her health .
meanwhile, the other less - than - uplifting circumstances of her life—defined by an absent philandering philosophy professor husband, a soccer - mad son who craves a father figure and her status as an unemployed teacher—slosh around her like a tub brimming with soap - operatic suds .
an interview with terry gilliam, director of
the man who killed don quixote .
the ebert club is our hand - picked selection of content for ebert fans. you will receive a weekly newsletter full of movie - related tidbits, articles, trailers, even the occasional streamable movie. club members also get access to our members - only section on urltoken
in brief: a skeleton plot, but it supplies some pretty decent psychological - thriller atmosphere .
the secret at the end of the sixth sense has to go down as one of the best - executed narrative twists in recent years. i didn' t see the movie until it came out on dvd, and still i didn' t see the ending coming, even though i had heard for months that there was a revelation at the end. the key, i think, is misdirection. the solution is sitting there in plain view, but you are not thinking about it, because you are not aware there is even a puzzle to be solved. you are too busy concentrating on the character drama .
i admire the intentions here, and i admire most of the execution, which deals in psychological terror. but i wonder: was anybody actually taken in by the trick ending? had anyone actually not figured it out? (i ask in all seriousness, and would be interested in hearing from those who were. )
doctor 's orders is a 1934 british , black-and-white , comedy film directed by norman lee and starring leslie fuller , john mills marguerite allan and ronald shiner as miggs . it was produced by british international pictures . 
doctor's orders is a 1934 british, black-and-white, comedy film directed by norman lee and starring leslie fuller, john mills marguerite allan and ronald shiner as miggs. it was produced by british international pictures.
doctor's orders is a 1934 british, black-and-white, comedy film directed by norman lee and starring leslie fuller, john mills marguerite allan and ronald shiner as miggs. it was produced by british international pictures.