blue blood ( 2014 film )
at its best, blue blood just shows that boxing is a particularly tough sport to lose at .
reviewed at rio de janeiro film festival (competing), sept. 30, 2014. running time: 119 min. (original title: “sangue azul” )
real life rockys with stiff upper (class) lips come out of their corners in blue blood, a captivating film about the oxford university boxing team .
blue ruin is a reference to the blue and ruined pontiac, the car - home of dwight .
jeremy saulnier' s
blue ruin
is a small, quiet film brimming with smart directorial decisions .
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one of the better sports movies in recent memory, blue blood is a counteragent to the era of the steroid - shooting superhero, a film that puts athletics back in perspective, and on a human scale .
a sumptuous study of isolation that feels remote from authentic experience, blue blood is full of stunning images and striking set pieces which add up to little apart from a series of brilliant, blue - hued flashes. back in 1996, its director lirio ferreira co - directed perfumed ball, the first film from brazil’s pernambuco region to make an impact on the international festival circuit: blue blood is only his third film. unfortunately, despite its tight geographical focus it replicates the diffuseness of dry movie, ferreira’s second, by saying too little about too much .
stéphanie cléau and mathieu amalric portray adulterous french lovers in “the blue room. ”
saulnier spills a lot of blood, but he' s an extraordinarily responsible and appealing craftsman .
the section head wieland speck together with the director and the team of the opening film .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
with the same brand of realist irony the coens used to cool down blood simple, writer - director jeremy saulnier slows the genre' s heartbeat to gripping effect .
' a lethal screen weapon employed to piercing effect’: macon blair as dwight in jeremy saulnier’s blue ruin. photograph: sportsphoto ltd / allstar
every shot in this film is carefully selected to bring the most out of this thrilling story. [ full review in spanish ]
there' s nothing better than a revenge fantasy film. tarantino is possibly the most famous, recent, purveyor of this genre with his revival of grindhouse and exploitation films, but
blue ruin
is its own strange, gothic ride through southern crime. read more at urltoken
blue ruin is a classic american revenge story that recently won the fipresci international critics prize at the cannes film festival where it screened in the directors' fortnight. the film follows a mysterious outsider whose quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. proving himself an amateur assassin, he winds up in a brutal fight to protect his estranged family. (c) radius - twc
saulnier is also a cinematographer, and he' s in complete control of the film' s conflation of human - scale horror and tragicomedy .
the travels of the neptune circus have brought it to a distant island, an unnamed tropical paradise (the film was in fact shot on fernando de noronha, an idyllic location some 200 miles off the coast of north - east brazil). the early scenes of this languid, sumptuously - shot film show the setting up of the circus, with billowing canvases set against the crystalline blue sea which dictates its palette and to which the title refers .
ace lenser mauro pinheiro jr. is the real star of “blue blood, ” lirio ferreira’s gorgeous - looking yet narratively weak drama about a circus performer returned to his island home. auds endlessly drawn to big - tent stories perhaps won’t mind, but the themes here, including the leitmotif of an isolated populace and the enfeebling hothouse atmosphere of an [ … ]
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…
the cop - and - criminal brother relationship at the heart of
blood ties
hearkens back to gray' s 2007
we own the night ,
not to mention maybe every other gray film, and quite a few classic american noirs as well. oddly enough, though—and this is where things get kind of confusing—
blood ties
is an english - language, american - set remake of a 2008 french film of the same name (in french) in which canet co - starred. all of this exposition about the film' s origins is not quite as material as the fact that this movie, with its outer - borough setting and outbreaks of brutality and scenes of tortured family life presided over by a dying patriarch who' s only now coming to terms with his own issues, is very much the stuff of gray' s world .
when jeremiah is caught in the middle of an ill - fated plot to kidnap crystal, his boss roman’s beautiful young girlfriend, roman unleashes the psychopath, bill, to hunt jeremiah down. but when crystal refuses jeremiah’s offer to return her to roman, jeremiah and crystal begin a dangerous love affair on the run. and with every hour they’re together, a darker deeper secret burns within crystal—something even more sinister than the killer who is after them. blood ransom opens in philippine cinemas on oct 29 and in north america on oct 31, 2014 for u. s. theater listings please visit: urltoken
twenty two years ago, an arid, volcanic and island paradise nestled in the middle of the south atlantic, a nine year old boy was separated from his sister. the mother, fearful of a forbidden attraction between them, decides to send his son, not daughter, for the continent. the boy was taken by kaleb, the rider of an old circus, passing by the island. on the mainland, kaleb instructed the boy in circus arts and spirit, where the former islet became zolah the bullet man. blue blood begins when zolah and the circus back to paradise. the circus is established as an island within an island, and the most solitary of these isles zolah himself, a beautiful man who seduces everyone and everything, yet remains deeply lonely, because he could not love anyone. blue blood is a film about the sea, the circus and the impossibility of love .
high on style but low on substance, there’s no escaping the fact that a story about the far - flung possibility of incest is a slim premise on which to hang a movie, despite that movie’s often elegant attempts to conceal its hollowness with cinematic fireworks. offshore prospects, too, seem remote, though blood ’s awards for best film and director at rio should generate some interest .
the world doesn' t need another empty genre exercise. but as blue ruin reminds us, it can always use more filmmakers of saulnier' s resourcefulness, sensitivity and quiet assurance .
ace lenser mauro pinheiro jr. is the real star of “blue blood, ” lirio ferreira’s gorgeous - looking yet narratively weak drama about a circus performer returned to his island home. auds endlessly drawn to big - tent stories perhaps won’t mind, but the themes here, including the leitmotif of an isolated populace and the enfeebling hothouse atmosphere of an island locale, needed more incisive scripting to overcome a strong sense of deja vu. geographical and corporeal eye candy, along with a landslide win at rio with awards for best film, director, and supporting actor (romulo braga), will certainly boost local play and sales .
a minority interest at best, yet for the most part director stevan riley succeeds in making an accessible and entertaining film about what could potentially be an alienatingly arcane look at varsity sports .
it' s a dark film, with a sicko sense of humor, that' s not for all tastes. but the talented director knows how to keep things tense, taut and exciting .
after a brilliant 20 minutes, blue ruin has not only covered but largely overturned the ground upon which most revenge thrillers would expend their entire running time. what follows is the fallout from those actions, with age - old eye - for - an - eye riffs suddenly made to seem fresh and new by a film - maker crucially more interested in exploring what happens next than simply rehashing what has gone before .
the question of julien’s guilt teasingly winds through this movie, which doesn’t so much ask who done it and why, but what happened. there is at least one crime in “the blue room, ” and that initial drop of bedroom blood grows into a metaphoric cascade, but far more pulse quickening is how mr. amalric, following simenon’s ingenious narrative lead, puts together the story’s fragmented pieces. julien, you soon discover, has been arrested and is being interrogated about a death. the initial glimpses of him and esther making love in the blue room turn out to be flashbacks, much like illustrated memories, that he has summoned up during his different statements at different times and in different spaces to the police, a shrink (blutch) and a judge (laurent poitrenaux) .
when margaret gaffney asks dwight if he' s in a rush, the stove clock behind her reads 8: 26. two shots later it reads 8: 32 despite the fact that almost no time has passed within the film .
the film tells the adventures of friends joão grilo, a poor man a liar, and chicó, the most cowardly of men. both struggle for daily bread in the northeast of brazil and crossing for... see full summary »
michael parks, who plays preacher, was in the television movie murder at the world series (1977). one of the editors for that film, was named john link, mel gibson' s character' s name in this movie .
presumably the aim is to have the circus function as a microcosm of society, and indeed major subjects are negotiated, among them love, sexuality, marriage, aging and death. but the angle of focus is so wide that very little new light is shed on any of them. blue blood is full of small moments of symbolism which don’t add up to much, unless we’re looking at a metaphor for a society struggling to emerge from the consequences of the bad decisions taken by its elders: and if that is indeed what it’s all about, then it doesn’t deliver anything particularly revealing .
based on a true story ,
bingo
is a film about the man behind the mask. augusto is an actor hungry for a place in the spotlight, following the footsteps of his mother, a stage artist in the... see full summary »
there’s a shot at the start of “the blue room, ” an elegant psychological freak - out about adultery and other madness, of a vacated hotel room. the calm gray - blue walls and understated furnishings paint a tranquil scene. yet it’s here that julien (mathieu amalric) and esther (stéphanie cléau) have routinely broken their marriage vows in a frenzy of tangled and sweat - slicked limbs. with its covers thrown back, the large bed that dominates the room seems less empty than ravaged. it looks like a stage after the final performance. it also looks like the scene of a crime .
aaa (: i ruddy love this film (: artfully shot & emotions are portrayed excellently personally i would have liked to have seen more of fred (; and less of the annoying, self - loving amercian known as justin. however, its a great film nonetheless. there are some beautiful shots of oxford, but at the same time, some eye - opening scenes about life behind the great spires and the glamoured up world of first class education. has to be one of my all time favourite films (: riley has done an excellent job: d a must see !
brief, wordless scenes of dwight hunkering under a boardwalk, scavenging for food in dumpsters, and sleeping in a rust - bitten pontiac (the
blue ruin
of the title) provide sharp thumbnail sketches of a passive itinerant lifestyle, while a haunting tableau of dwight shut out of a thriving fun park vividly depicts his isolation from the joyfully illuminated throng of carefree delaware society .
in a few short minutes, mr. amalric has introduced the kind of cinematic call and response — one in which a movie’s sights and sounds comment on each other — that establishes that you’re in the grip of a real director. it’s exciting, although mr. amalric tends to move too fast for you to linger appreciatively over his filmmaking. the movie unfolds with the same terrific velocity as the simenon novel, a short, savage work also titled “the blue room. ” in the opening sequence, for instance, there’s a shot of julien looking at esther while framed in a mirror, his large eyes shifting when she asks if he loves her. he looks remarkably guilty. not long after, the setting has moved from the blue room to somewhere rather less inviting, and the police are grilling julien about his affair .
directed by mathieu amalric; written by mr. amalric and stéphanie cléau, based on the book by georges simenon; director of photography, christophe beaucarne; edited by françois gédigier; music by grégoire hetzel; production design by christophe offret; costumes by dorothée guiraud; produced by paulo branco; released by sundance selects. in french, with english subtitles. running time: 1 hour 16 minutes. this film is not rated .
the film is thus best enjoyed for its full creation of an isolated, remote and offbeat world, a world, however, in which it’s hard to engage emotionally because of the broad brushstroke characterization. most of the dramatic burden falls on the shoulders of de oliveira, who is sensitive, muscular and dull, and abras, straddled between marriage and sex as raquel: but there’s no sense of anything that may have happened between the central duo which would merit all this dramatic fuss .
writer / director jeremy saulnier understands the viewer should sympathize with the
hero
in order for us to be invested in his plight. you can appreciate dwight' s emotionally damaged vagabond. i' m not so sure we should be rooting for him, but we do. he has suffered deeply. now he is tormented by deep sorrow and so he has our sympathy. yet his quest is made more captivating in the way it' s told, giving the audience pieces to make us root for the protagonist without really knowing everything. even by the end, we never really know the complete story, just enough to understand what' s happening in the moment. bursts of violence are used. blue ruin occasionally falls victim to excess. more restraint in the bloodshed department would' ve been appreciated. an extended scene where macon digs an arrow out of his leg is gratuitous in its desire to shock. storytelling is a craft. blue ruin does indeed have an artistic way of telling an uncomplicated tale. it doesn' t revolutionize the genre. it' s a simple saga, artfully told. urltoken
mr. amalric, who directed this dark, delectable, shivery tale, adapting it from the georges simenon novel, sets its uneasy, dank mood with energetic economy. the opening credits have scarcely ended before he’s begun arranging his people and parts, mixing shots of the hotel with those of a woman’s damp neck circled with pearls and her shoulder beaded with sweat. a chorus of gasps and moans accompanies the suggestive swells of the lushly orchestrated music and then gives way to bursts of dialogue. “did i hurt you? ” the woman asks off camera. “no, ” a man answers, their exchange punctuated — and seemingly contradicted — by a drop of blood blooming indelicately on a white sheet .
blue bloods follows the lives of the nypd' s first family of law enforcement: the reagans. frank, the police comissioner and son of former pc henry reagan, must balance his duties of running the largest police force in the world and being his kids' boss. his daughter erin is an assistant district attorney, son danny is a senior detective and fellow marine veteran, and new harvard law grad turned cop, jamie all swirl through this family drama and passionately defend their city from harm. the irish - american family is deeply rooted in their patriotism, passion, and love of family .
when dwight' s sister, who has endeavoured to move on from family tragedy, calls her brother
weak
, his response is more accepting than self - justifying. while most death wish - influenced narratives concede only emotional detachment or hollowness on the part of their damaged leads, blue ruin is happy to add terror and cowardice as defining traits, along with a palpable sense of alarm at the physical results of violence (
the rest of his head is... over there
), which dances around the edge of graveside humour without ever falling into the gaping chasm of careless, callous comedy .
ferreira breaks the film up into chapters — “insomnia, ” “anguish, ” etc. — a device that allows him to neatly emphasize a particular stage in zolah’s trajectory. the major themes, however, run throughout, and there’s a stated parallel between zolah and birds (who either dive for their food or scrounge), which strives for poetry but can’t quite bring it all together in a meaningfully perceptive manner. as in the non - prolific director’s best - known pic, “dry movie, ” the lack of script cohesion means that mood is better evoked than character .
the french actor and director guillaume canet made his international arthouse name with the tricksy 2006 thriller
tell no one ,
which he followed with the less tricksy and more indulgent where - am - i - and - my - generation - now drama
little white lies .
this left the question of where he would go with his debut english - language feature an open one. whether it was a tantalizingly open one would depend on how crazy you were about the prior films. this critic was only mildly impressed. but i am slightly surprised that with
blood ties ,
canet accomplishes something like a full - on homage to his american filmmaking contemporary james gray. this achievement is either made more strange or entirely explained by the fact that gray himself co - wrote the script with canet .
the supporting performances are strong too, from the believable despair of amy hargreaves' s sam, who finds her life destroyed anew by her brother' s fatally reduced worldview, to the troubled but unwavering support of devin ratray' s gun - toting old school buddy, a character who could be played for grim laughs, but remains just on the right side of deadpan. and although the rest of the film has a hard time living up to the promise of that audacious opening act, it never descends into either affectless satire or unwarranted carnage, as victim turns to killer and family turns upon family with quasi - biblical results .
as “the blue room” continues, and julien’s tribulations do, too, his remembrances flicker on and off the screen like a guttering flame, illuminating some events and obscuring others. (in moments, julien’s panicked eyes and rabbity physicality evoke roman polanski, another connoisseur of strange and ominous rooms .) mr. amalric’s direction remains graceful through the story’s violent turns, its mood changes and tone shifts. notably, he also warms up simenon’s characters, in particular julien, who on the page tends to register as a plot contrivance. on screen, julien is many things — morally weak, terribly compromised, sometimes violent, often pathetic — but he’s never less than human. and while his humanity makes him more recognizable it’s also what makes him truly tragic .
tracking the family over the course of a year ,
blood ties
aspires to a novelistic scope and level of detail, and most of the cast do a great job inhabiting their characters (kunis has a bit of trouble on the accent front; so does owen, although the latter compensates by adding some guttural thickness to his vocal timbre, and also not having a whole lot of dialogue). but while canet' s direction can' t be said to be all over the place, the movie never settles into the groove it so dearly aspires to. the twists and turns of the plot are plentiful, and eventually my
okay, i' ll roll with this
attitude, when presented with yet another implausibility, gave way to
you' ve got to be kidding me .
also, the movie' s song - based soundtrack is often way, way too on the nose; you' ll never guess what happens in the scene that uses the velvet underground' s
heroin ,
for instance. also, is there some kind of law that says noah emmerich has to play a ticked - off cop in every new - york - set movie about policemen and their discontents? and so on. and honestly, i' ve had similar misgivings, although not so pronounced, about actual james gray films. but the virtues i' ve cited are real enough, too, and if you' re an ardent admirer of pretty much anyone in the cast (ok, except emmerich), you' ll find something worthwhile here .
a ship with a circus on board approaches an island in the south atlantic. during the evening performance the ringmaster and illusionist kaleb presents an artiste named zolah who immediately wins over the hearts of everyone in the audience. zolah is pedro, who left the island twenty years previously at the age of nine. his reunion with his mother rosa and his introverted sister raquel brings the well - travelled acrobat face to face with old wounds and buried dreams. raquel’s world is the sea, and she always retreats to its depths. she wishes that pedro could be a part of it. questions begin to present themselves to pedro. why did his mother send him away all those years ago? whilst islanders and circus artistes enjoy a lively exchange, pedro and raquel seek out a place of their own. feelings of guilt, rivalry and burgeoning pride soon become a challenge for the whole family. lirio ferreira explores these siblings’ willingness to take risks in images of impressively virtuoso circus acts, combining these with elements of classical tragedy and magical images of the sea to create a brilliant cinematic experience .
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twenty two years ago, an arid, volcanic and island paradise nestled in the middle of the south atlantic, a nine year old boy was separated from his sister. the mother, fearful of a... 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 .
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diogo (17) has a little quirk: he likes to call his mother' s female therapy patients and masturbate while listening to them on the phone. one of these patients is angela (43), a woman who... see full summary »
mano has to deal with adolescence dilemmas and his family destruction, after his father leaves their house .
exploring issues of class privilege among rio' s decadent elite, casa grande depicts a teenage boy' s struggle to escape his overprotective parents as they covertly spiral into bankruptcy .
the lives of the residents of a brazilian apartment building and the security guards who get the job guarding the surrounding streets .
an ensemble drama about rookie nypd cops assigned to patrol the city' s streets .
a career jewel thief finds himself at tense odds with his longtime partner, a crime boss who sends his nephew to keep watch .
semi - documentary about semi - heavenly island and circus. nice landscapes above and below sea level, and beautiful people. misses a real plot so no drama and neither a mystery
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lirio ferreira’s gorgeous - looking yet narratively weak drama follows a circus performer who has just returned to his island home .
daniel de oliveira, carolina abras, sandra coverloni, romulo braga, matheus nachtergaele, milhem cortaz, laura ramos, livia falcao, servílio de holanda, glicerio rosario, armando badaioff, ruy guerra, paulo cesar pereio, brenda ligia, stefano catarinelli, rosimeire dos santos, christiane tricerri .
the strikingly beautiful black - and - white prologue (the rest is in color), accompanied by dvorak, sees a ship sailing to a headland and a group of men erecting a tent for the netuno circus. the location is brazil’s stunning isla fernando de noronha, off the coast of pernambuco state — the birthplace of zolah (daniel de oliveira), the circus’ “cannon man. ” unabashedly priapic — he gets a handjob from g. f. teorema (laura ramos) before sitting astride the phallic cannon he’s shot out of every night — zolah is a local celebrity returned home, to the delight of his mother, rosa (sandra coverloni), and sister, raquel (carolina abras), engaged to cangulo (braga) .
the director shifts between the circus, using ringside acts as interstitials, and zolah’s hesitant reintegration in the family. one of the problems, however, is that the circus numbers aren’t especially impressive, including zolah’s rather limp cannon shot, notwithstanding the rapturous applause he receives. leading the troupe as ringmaster is kaleb (paulo cesar pereio), a magician enamored with marlon brando’s character from “the wild one. ” he’s having a relationship with inox (milhem cortaz), the strongman, but suddenly disappears one night with no explanation .
kaleb’s literal vanishing act is just the beginning of the strange behavior that starts to infect the circus members: even zolah loses his potency the longer they remain on the island. part of the reason is his feelings for raquel, whose job as a diving instructor stands in pointed contrast to zolah’s fear of diving. it becomes increasingly apparent that he’s trying to resist his incestuous attraction to his sister, which manifested itself when they were children, which is why rosa sent him off the island at an early age .
nevertheless, visual pleasures abound. oliveira (“cazuza”) has never looked better (there’s a lot of him to be seen), and he continues to prove he’s more than just an athletic body. best of all is pinheiro’s glorious lensing of the island’s natural beauties, beginning with the attractive monochrome opening, which teasingly promises a level of artistry that doesn’t return. underwater sequences are a highlight .
production: (brazil) an imovision release of a drama filmes, beluga, dot, telecine production. produced by renato ciasca, beto brant, lirio ferreira. coproducers, oliver kwon, filip jan rymsza, frederico porto. executive producers, renato ciasca, monica lapa, julia bock, fred lasmar, tuca noronha .
crew: directed by lirio ferreira. screenplay, ferreira, fellipe barbosa, sergio oliveira. camera (b & w / color), mauro pinheiro jr. ; editors, mair tavares, tina saphira; music, pupillo; production designer, juliana carapeba; costume designer, juliana prysthon; sound, valeria ferro; assistant director, alice gomez .
with: daniel de oliveira, carolina abras, sandra coverloni, romulo braga, matheus nachtergaele, milhem cortaz, laura ramos, livia falcao, servílio de holanda, glicerio rosario, armando badaioff, ruy guerra, paulo cesar pereio, brenda ligia, stefano catarinelli, rosimeire dos santos, christiane tricerri .
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the cast is high - profile. zolah (daniel de oliveira) is the human cannonball, a figure who metaphorically enough oozes a sexuality which he explores with teorema (cuban actress laura ramos). the ringmaster, marlon brando fan kaleb (vet paulo cesar pereio), is a fading illusionist who converses existentially on the beach with local fisherman mumbebo (the great brazilian director ruy guerra, squeezed in: touchingly it was fifty years ago this year that pereiro made his debut in guerra’s the rifles). other members of the troupe include strongman inox (milhem cortz) and gaetan (matheus nachtergaele), who throws knives at teorema .
zolah is returning to the island for the first time in over twenty years since being handed over to kaleb to be raised in the circus by his mother rosa (sandra coverloni). but unfortunately he falls for diver raquel (caroline abras), now married to the hapless cangulo (romulo braga, who won the best supporting actor in rio): we soon learn that not only were zolah and raquel friends when they were children, but that they' re biological brother and sister .
circuses as seen in movies tend to be brighter, less drab places than their real - life counterparts, and that’s the case here: the characters seem to be at their happiest when performing. but there’s little of note about what they’re doing during these scenes, which drag on too long. such scenes contrast with those too - few moments of extraordinary and memorable artistry, as in a long shot of raquel falling asleep in what appears to be real time, or of kaleb approaching inox and suddenly, apropos of nothing, kissing him passionately .
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twenty years ago on a volcanic and paradisiacal island a 10 - year - old boy was separated from his sister. the mother, fearful that an incestuous attraction would develop between the two, sent her son to the mainland with kaleb, the magician from the neptune circus that had visited the island. on the mainland kaleb teaches the boy the arts of the circus and the spirit, and the ex islander becomes zolah, the bullet man. zolah is now back visiting the island with the circus. a parallel between cinema and circus that speaks of the sea, art and love .
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a ship with a circus on board approaches an island in the south atlantic. during the evening performance the ringmaster and illusionist kaleb presents an artiste named zolah who immediately wins over the hearts of everyone in the audience .
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movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
stevan riley succeeds in offering a restrained and insightful portrait of the personalities behind personal glories won and lost within the pressures of such an institutional hot - house .
the story' s slight, but it' s still an exhilarating look at an unlikely group of heroes, scored and edited for maximum effect .
average boxing documentary following oxford students preparing for their varsity match. predictable narrative arc fails to inspire and the central question of why very intelligent students would want to box is never satisfactorily answered .
how to wade through the crush of culture coming your way this season? here’s a guide to 100 events that have us especially excited, in order of appearance .
as the movie shifts from past to present and back again, skipping across time and in and out of rooms, the larger picture emerges. in flashback, julien and esther’s affair is seen igniting one golden day on an isolated road. she’s married to nicolas (olivier mauvezin), a pharmacist with health issues, who owns a store in town. julien lives with his wife, delphine (léa drucker), and their daughter, suzanne (mona jaffart), in one of those cold modernist houses that look like prisons. julien and esther knew each other when they were young, but, she reminds him, he hadn’t pursued her. now, years later on that quiet road, esther invites julien to kiss her and — in a glorious, hitchcockian swirl of wind, musical notes and camera movement — he does, surrendering completely .
mr. amalric handles the kiss beautifully. with ms. cléau (his partner in real life) and a gifted team that includes the cinematographer christophe beaucarne, he makes the moment at once palpably real and manifestly artificial, counterbalancing the authenticity of the emotions with studiolike lighting and a wind that suddenly blows in as if summoned by unseen forces or an off - screen special - effects fan. it’s the kind of big movie kiss that sends noir heroes to their knees and maybe their graves and that accompanied by crashing ocean waves and intensifying music, elevates scottie’s passion for madeleine in hitchcock’s “vertigo, ” one of mr. amalric’s touchstones. this isn’t only how julien remembers his and esther’s first kiss but also how he has enshrined or more rightly entombed it .
with: mathieu amalric (julien gahyde), léa drucker (delphine gahyde), stéphanie cléau (esther despierre), laurent poitrenaux (the judge), serge bozon (the gendarme), blutch (the psychologist), mona jaffart (suzanne gahyde) and olivier mauvezin (nicolas despierre) .
a stripped - down tale of revenge with bloodied hands and a blackened heart, this viscerally intelligent thriller takes a new stab at an old genre with refreshingly distressing results .
the first movement of writer - director - cinematographer jeremy saulnier' s low - budget gem is a masterclass in visual exposition, with economic action and precisely choreographed expression explaining a complex back - story more eloquently than dialogue ever could. we open on an image of disturbed domesticity, the camera crawling through a family home toward a bathroom in which a ginger - bearded man is startled from the tranquillity of the tub by noises outside. the panic on his face suggests fear of a break - in, but dwight' s hasty exit through a window reveals that he is the interloper, the intruder, the stranger in the house .
only when a concerned policewoman reveals that a prisoner has found early release do the roots of dwight' s still unspecified estrangement (
it' s an awful thing he did to them ...
) come into focus. subsequent attempts to buy or steal a weapon set this ragged misfit upon an apparently familiar narrative road, made jarringly un familiar by the startling queasiness of the clumsy violence that ensues .
at the wounded heart of it all is macon blair, a lethal screen weapon employed to piercing effect by saulnier. as dwight, blair offers a stark contrast to the expressionless avenging angels who litter traditional exploitation cinema – a properly broken man, stumbling his way down a preordained path more in fear than in anger, each escalating act of vengeance / survival taking another chunk out of his fractured character. early scenes depict dwight as a frightened, feral creature, reacting to news of his nemesis' s release with cowering horror. later, following an encounter with a razor and a stolen wardrobe, he emerges as a fragile nebbish, an uncommunicative antihero alongside whom dustin hoffman' s nerdy mathematician from straw dogs (to which this pays passing homage) seems like a man of muscular action from the outset .
underneath it all there' s gnawing unease about a culture built upon the right to bear arms, and for once the ultimate rejection of firepower as a solution to anything seems honest rather than opportunistic. it all adds up to a gripping, gruelling, thought - provoking work; lean, mean and bad to the bone .
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tim, an old race - horse trainer down on his luck, is thumbing his way from san francisco to los angeles when he is given a ride by eileen and sue buchanan, daughters of a wealthy southen... see full summary »
lakeith stanfield and his sorry to bother you director boots riley discuss the stress of filming sex scenes .
tim, an old race - horse trainer down on his luck, is thumbing his way from san francisco to los angeles when he is given a ride by eileen and sue buchanan, daughters of a wealthy southen california race horse breeder. tim sees
tanglefoot
, a five - year - old he had trained, and learns that the horse is destined for the dog meat packers. eileen buys the horse with him. tim is given the trainer job at buchanan' s, where he sells a third interest in the horse to bill manning, a neighboring stockman who is in love with sue. tim and eileen buy
dinner ring
from manning for $ 10, 000 and enter him against manning' s horse in a futurity stake race and
dinner ring
wins. now they prepare
tanglefoot
to run in the big san bruno race in which manning is going to enter
alcazar .
during a trial run ,
alcazar
breaks a leg and has to be killed. eileen, who has always been in love with manning, gives him a sympathetic kiss, and manning realizes it is really eileen he loves .
tanglefoot
, because of ...
a mysterious outsider' s quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. proving himself an amateur assassin, he winds up in a brutal fight to protect his estranged family .
] get ready. i' d like you to come into the station .
: i... is it about the house.' cuz i could ...
: dwight, sweetheart, i' ll explain. okay? just come with me .
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danny and baez investigate a series of drive - by shootings they think may be connected to six wrongly convicted men who were just released from prison .
in the conclusion of the two - part season 5 finale, one of the reagans is shot by a gang member, and danny pursues a suspect while trying to keep his emotions in check. to add to the complications, ...
when a newspaper reporter is targeted while wearing nypd gear during a ride - along, frank thinks the shooter is targeting cops .
trippy indie madeline' s madeline is the movie that lakeith stanfield and boots riley from sorry to bother you want to see the most .
steve mcgarrett returns home to oahu, in order to find his father' s killer. the governor offers him the chance to run his own task force (five - 0) .
the naval criminal investigation service' s office of special projects takes on the undercover work and the hard to crack cases in la. key agents are g. callen and sam hanna, streets kids risen through the ranks .
follows district 21 of the chicago police department, which is made up of two distinctly different groups: the uniformed cops and the intelligence unit .
the cases of the naval criminal investigative service' s washington dc major case response team, led by special agent leroy jethro gibbs .
the story of firefighters in chicago, both on a personal and professional level .
the cases of the f. b. i. behavioral analysis unit (b. a. u .), an elite group of profilers who analyze the nation' s most dangerous serial killers and individual heinous crimes in an effort to anticipate their next moves before they strike again .
the special victims unit, a specially trained squad of detectives in the nypd, investigate sexually related crimes .
a spin - off of ncis (2003) about the local field office of ncis that investigates criminal cases involving military personnel in the big easy, a city known for its music, entertainment and decadence. this colorful city that harbors a dark side is a magnet for service personnel on leave, and when overindulgence is followed by trouble, special agent dwayne pride' s team is at its best .
an emotional thrill ride through the day - to - day chaos of the city' s most explosive hospital and the courageous team of doctors who hold it together. they will tackle unique new cases... see full summary »
bull stars michael weatherly as dr. jason bull in a drama inspired by the early career of dr. phil mcgraw, the founder of one of the most prolific trial consulting firms of all time... . see full summary »
a political drama which looks into the life of the secretary of state as she tries to balance work with family .
follows a locally born and bred s. w. a. t. lieutenant who is torn between loyalty to the streets and duty to his fellow officers when he' s tasked to run a highly - trained unit that' s the last stop for solving crimes in los angeles .
frank reagan often states ,
i' m the police commissioner. i know everything
. in the jesse stone films, in which tom selleck also stars, jesse stone frequently states ,
i' m the police chief. i know everything
.
for the nypd, the police commissioner has the rank insignia of five gold stars .
i' ll be honest at the outset and say i' ve given this show a very solid 8 out of ten. now i' m not sure if you' re thinking that that doesn' t jive with the heading on this review, if you are please remember two things 1) if i could give half points i would have given 8 and a half and 2) i' m very hard to please when it comes to movies and tv. first i' ll start with donnie (oooh oooh oooh oooh oooh! { nkotb reference }). i absolutely loved him in boomtown and was very disappointed when it got cancelled because the show as a whole was brilliant and original and i tuned in every week without fail (rip boomtown). wahlberg does not disappoint in this show either as the thoroughly committed to doing the right thing detective, brilliant and first class as usual. selleck as the (nearly) patriarch of the family and the definite patriarch of the police department cannot put a foot wrong for my money either. someone mentioned it already, but the whole debating of decisions over the sunday roast is a brilliant show device with which the audience is exposed not only to the logic employed by the cops but also to the points that can be made by the devils advocate. thoughly entertaining, and not visited nearly enough in other shows. one of the strongest selling points of this show is the lack of formulaic clap trap that you find on other shows (granted there is some form to the show as in a crime has to happen in order to be investigated) and the originality in which the show goes about bringing its stories to the audience. last but not least is the emotions and feelings in the show. it' s much more effective than most cop shows i' ve watched at tugging at the heart strings and it really is worth watching for all the above reasons. i hope you enjoy this show !
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an ex - con reunites with his estranged wayward 17 - year old daughter to protect her from drug dealers who are trying to kill her .
are you ready for skyscraper? we are! see which other movies and tv shows we' re excited about .
when lydia is talking on the phone with kirby in the hotel, she is holding the phone directly to her ear, under her hair. but in the next shot, she is holding the phone over her hair. the position of the phone continues to switch from under her hair to over her hair among shots .
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for over 100 years oxford and cambridge have squared off once a year in a boxing match. this is the story of the oxford blues that made the team in 2005 .
feature documentary about the great west indies cricket team of the 1970' s / 80' s .
a documentary that utilizes hundreds of hours of audio that marlon brando recorded over the course of his life to tell the screen legend' s story .
rave against the machine tells the tragic and uplifting story of a troubled group of young musicians who strove to keep their sanity during the four year siege of sarajevo in the 1990s... . see full summary »
two cricket journalists set out to see whether test cricket has a future. in so doing they discover a conspiracy which starts at the highest echelons of cricket administration and politics .
dramatization of the 1932 / 33 test cricket series between england and australia. played in australia, the series gained notoriety in australian and worldwide cricketing history for the fact... see full summary »
candy, an innocent high - schooler, encounters numerous colorful characters and humorous sexual situations while attempting to find meaning in life .
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blue blood ( portuguese : sangue azul ) is a 2014 brazilian drama film directed by lírio ferreira . it was screened in the panorama section of the 65th berlin international film festival . 
blue blood (portuguese: sangue azul) is a 2014 brazilian drama film directed by lírio ferreira. it was screened in the panorama section of the 65th berlin international film festival.
blue blood (portuguese: sangue azul) is a 2014 brazilian drama film directed by lírio ferreira. it was screened in the panorama section of the 65th berlin international film festival.