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Abraham R (it) wrote: the best western. nuff said. a brilliant cast, an unforgetable performance, and the best coming of age story ever! the Duke will forever live on!
Carol H (ca) wrote: It doesn't have the "instant classic"appeal of 'What If' and the pace does tend to drag at places. Still, it's a pleasing romantic comedy with an edge.
Tim K (it) wrote: The true story of FDR's campaign against Nazi werewolves would have been a funny SNL skit but makes for a tedious film. There are only so many Polio jokes you can take.
Jen C (nl) wrote: Didn't read the book, but thought the movie was sweet.
Kyle B (ca) wrote: A fun, original, and well crafted sci fi, horror, buddy comedy, stoner comedy, and political commentary piece. The cast is great with sharp comedic timing but also great action skills led by the wonderful John Boyega. The sound design of the monsters is really cool and the visual effects making them are cool as well. Great screenplay, direction, score, and cinematography as well. This is one of the best movies to come out of 2011
Cole C (ru) wrote: Deeply rooted in its southern gothic roots, this revenge thriller is one that is amazing to look at. First time director Jeff Nichols creates a deeply personal tale about revenge, and the importance of brotherhood. A
jUANITO l (es) wrote: Just a great surprising turn around!! awesome!!!!!
Parker M (jp) wrote: 2.5 Stars out of 4 Lars von Trier's Manderlay is - in every way - a sequel to his 2003's Dogville. It's in a meta-town full of maddening, interesting, sometimes shallow but ultimately very curious ideas. It's also divided in chapters that exist to separate the film into episodic structure, creating different bodies of ideas instead of a naturally unravelling narrative. It also features the beguiling Grace, only this time played by Bryce Dallas Howard not Nicole Kidman. Oh right, it too is very, very polarizing. The key difference is the topic. Alabama, 1933. Slavery. I group those words succinctly because in these von Trier stage-like parables, the film tends to run on quite long and then ends, producing a feeling that the idea of what von Trier is arguing is very simple and concise. Yet his films spend a lot of time trying to be complex, and do they succeed? Maybe not, but what cannot be denied is the originality and, fortunately, the sense of mercy von Trier has draped over his audience in Manderlay unlike in Dogville (which was, criminally, about 3 hours long). So the chapters open and Grace and her mobster daddy (Willem Dafoe replacing James Caan) arrive at Manderlay, a plantation town in Alabama that hasn't adjusted to the Emancipation Proclamation from 70 years ago. Grace is greeted by a black local complaining that a slave is going to be whipped for a missing bottle of wine. Grace takes action. The town is headed by Mam (Lauren Bacall) who is on her death bed. Before she dies, she entreats Grace to burn the book entitled "Mam's Law", a book of regulations that forces a hierarchy and class divide among the black citizens. It consists of 7 Categories where the people are placed in one, such as the Pleasin' Negro or Talkin' Negro. This law goads Grace into staying behind and taking ownership of Manderlay. She is granted a few henchmen by her father, and also Joseph the lawyer who will draw up contracts for the slaves, guaranteeing a communistic form of cooperative living. Some enjoy Grace's company like Wilhelm (Danny Glover) and others less grateful like Timothy (Isaach de Bankol). Nevertheless, Grace seeks democracy at Manderlay, while providing all the black citizens with their life, liberty, and property. By the end of Manderlay, all of those will be violated. I will note it took me half of Manderlay to grasp at least a minute form of its point. As Grace settles in Manderlay and exercises democracy, I kept wondering why von Trier needed to explore slavery in America in 2005. For a bit Manderlay makes its audience the fish on dry land, flopping around gasping for some air of interest and relevance. The film finds its way nicely in the second half when the government Grace has imposed becomes subject to devastating consequences. Von Trier, like in Dogville, envisions his American towns through causality. Both have their prosperous moments and then their tragic or disastrous ones. I assume this is von Trier's view of America: pride before the fall. Like in Dogville, the use of metatheatre has great effect in Manderlay. Mainly incorporated due to frugal budgets, the soundstage detracts from realism and formal narrative in exchange for an abstract, non-literal conceptual universe. Manderlay stands for von Trier's imagination, not for an accurate description of the American heartland. Manderlay knows of its fictionality and thus doesn't have to worry about fulfilling plot, arc, and stakes but enforcing ideas that are relevant to the actual world. Well, in von Trier's case, "relevant" may not be the apt word. It is important to acknowledge Dallas Howard's performance as the quixotic Grace. Just coming off The Village, Howard plays Grace with innocence and strokes of ferocity. She means well but her intentions are so fragile they inevitably become harmful. Grace's almost tragic optimism is - inexorably - overshadowed by von Trier's unabashed cynicism. The conclusion of Manderlay is the discovery of those ideas being flammably mixed. Before we can understand the pain that has been inflicted, von Trier abruptly cuts to the classic "Young Americans" credit montage, one that works better this time in its irony. You cannot quote me calling Manderlay a "good movie" but it has moments of interest and rare scenes of brilliance. I think Manderlay could have been more powerful and provocative if it had approached post-9/11 politics not as an assault on America but to achieve a higher purpose. Therefore, Manderlay is ultimately, I think, a ponderous parable. A parable because of its enunciation of moral over plot and ponderous because the more argumentative it gets the more unintelligent it becomes. To avoid hating this movie one must envision it as a purely polemical piece. It strives for debate not accuracy. It offers a world-in-a-nutshell that many may deny (I for one), but one director thinks could be resembled. Von Trier handles Manderlay's flaws with resilience and produces a film within a play that is negative and cruel, but - this time - treats its audience without contempt.
Jordon J (jp) wrote: A loud, ugly and terrible movie that doesn't skillfully juggle its various elements; it throws them violently at your face and calls it edge. I say SKIP IT!!!
Cristian O (nl) wrote: Ang Lee don't have idea how to use to Hulk, Introducing stupid scenes noting plants and trees.
Billy S (br) wrote: This starts out good but the cheesy hollywood ending lets the entire thing down.
Eli N (de) wrote: ...well. I liked it.
dan b (ru) wrote: Futurecop Jack Deth is sent back to Christmas 1985 to battle an evil time traveling madman and his zombie denizens. As cheesy as it sounds but in a good way :)