Imaan

Imaan

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Christopher E (jp) wrote: A respectful and emotional depiction of the tragic events fueled by discrimination and racism, and an eye opener to the realities of our world.In a true story, Oscar Grant wakes on New Years Eve to what seems to be a typical holiday. While juggling many life problems, Oscar strives to leave his past life and make himself a better man. On an innocent night down in the city, his life will turn for the worse when he's detained at Fruitvale Station. What happens next will change his life and everyone's around him forever. I applaud Ryan Coogler. In his directorial debut, he managed to not only give us a simple, yet powerful film, but he also manages to pull a couple tears from your eyes. To this date, he's directed only two films, and both have been phenomenal. This, along with "Creed", have been some of the top films of their respective years, and he really shows us why this was the best film at the Sundance Film Festival. What I really loved about this movie was the writing. It was a very respectful, yet non biased portrayal of Oscar's last living breath. Coogler knows how to write natural dialogue and he also manages to give us amazing character depth. In a mere hour and 20 minutes, he can basically tell us everything we need to know about our main characters and why we should care about them. The thing that's most important is the fact that he didn't necessarily glorify Oscar and his life, but rather, shows how he was an imperfect man struggling to get back up on his feet. Oscar Grant was far from perfect and that's shown through multiple, yet small events. Whether it's his previous drug life, the jail time, anger management, or the unemployment, that was all shown in this movie. They didn't sugar coat it and I loved that. However, Coogler gave us the other side of Oscar, the side that showed him striving to become a better man. Yes, he made plenty of mistakes throughout his life, but he tried his hardest to create a new start for himself. He did everything he could do to become a better family man, a better father, a better son, and a righteous man. It's a tragic story to see his life taken away from him in a blink of an eye, especially to something so meaningless. Coogler does an amazing job of making these imperfect, yet relatable characters that you can root for the entire way through. I say this all with 100% respect toward Oscar Grant and I even admire him.The acting in this movie is definitely something to behold. Michael B. Jordan is one of today's best up and coming actors, and considering this is one of his early performances, he gave one of his best here. Again, not only is the writing a respectable portrayal, but the acting brings out the personality of each and every character. When I was watching this movie, I didn't feel like I was watching Michael B. Jordan playing some character, but rather, I felt like I was watching Oscar Grant live out his life. That's due to an amazing performance from Jordan, as a lot of Grant's little ticks, habits, and slang were picked up on in this film. Everyone else did a pretty great job too, and the overall talent here is admirable.This movie is so admirable because it's just so simple. Nothing here is overdone and there are so many small things that really make this movie what it is. Whether Oscar secretly hands his daughter a pair of fruit snacks, the kind act of a shop owner, or watching one Caucasian police officer hold the hand of Oscar as he bleeds out, it all adds up in the end. I praise this movie and what it has done, and I recommend it to anyone age appropriate with a Netflix account. In the end, this was a fantastic film. It was well directed and well acted, and a respectable portrayal of the tragedy at Fruitvale Station.

Cameron J (kr) wrote: "Lay down your money and you play your heart; everybody's got a crazy heart!" Man, that was cheap, especially considering that heartland rock just isn't American enough for a film like this. Granted, the Americana value of that kind of heartland rock is toned down by Bruce Springsteen's a super-liberal who doesn't realize how much his jingoism threatens American culture, but even with that taken out of account, this film is so country that it's loosely based on the life of Hank Thompson, and is set so deeply into its roots that it title sounds like something that someone's old uncle came up with when he was whittling on the porch or whatever. The film features some tunes that come courtesy of Stephen Bruton, who apparently found this project so satisfying as a testament to Americana music that he died right after working on it, knowing that it doesn't get any more American than this. I'd imagine the throat cancer didn't exactly hinder his passing, but hey, he can rest in peace after working on this film, and I'd imagine Jeff Bridges could rest in peace if there was a chance of him passing away any time soon, because with this film, I reckon he's secured our disbelief that he's not from Texas or wherever. He's about as bad as Creedence Clearwater Revival at sticking with his California roots, but hey, I don't mind, because as someone from the region these fellas wish they were from, I can tell you that they do a pretty decent job of replicating this part of the music industry. At the very least, they know how to make a decent film about this part of the music industry, and yet, like Bridges' and John Fogerty's attitude about their more westward-bound roots, this film still has its share of serious problems. There's been much talk about this film's lack of originality, and, wow, such talk couldn't be further from the truth, for although there are some distinct moments of inspiration which distinguish this particular inspiration of an age-old tale, the final product is rendered hopelessly predictable as it works its way through trope, after trope, after trope along a formulaic plot. Perhaps the conventions would be easier to get past if it wasn't for, well, first off, the cold spells in storytelling bite which I will talk more about later, as well as, of all things, occasions in which storytelling gets too carried away with dramatic momentum, to the point of reaching subtlety issues, of which there are only so many, though still enough, and in enough key places, to shake the genuineness of this drama with melodrama. Whether they derive from an ambition to flesh out depth, or even from a laziness to the fleshing out of genuineness, subtlety issues, however limited, undercuts much of this drama's, if you will, "heart", and that's a shame, because much too often, when the film isn't overexploring its depth, it's undercooking it, conceptually taking on themes regarding losing public relevance and personal life with age, as well as addiction, and doing them something of an injustice through underdevelopment, if not a somewhat tamed portrayal of potentially meaty subject matter. Highlights in the onscreen and offscreen performances are well worth waiting for as compliments to the depths of this drama, but the film takes a long time to get to its conflicts, let alone those dramatic highlights, and such near-gross underexploration of a worthy story concept deals a devastating blow to effectiveness which goes matched by the blow delivered through the route opposite of undercooking. In a lot of ways, the film is too tight to draw upon its dramatic core, and in just as many ways, it's overdrawn, certainly not with excess material, but excess filler that meanders on and on, to the point of bland repetition that Scott Cooper, as director, quite frankly, exacerbates with an atmosphere that is too thoughtful for a film this limited in depth to meditate upon, resulting in an occasionally dull toothlessness. About as lacking in atmospheric dynamicity as it is lacking in structural dynamicity, the film has its inspired moments of dramatic momentum, but much too often, flat pacing really places a heavy number on this drama's engagement value, further shaken by a certain flatness to uniqueness and depth, until the final product finds itself sputtering out, not just pretty short of potential, but pretty deeply into underwhelmingness. Yeah, the film is nothing short of a let-down to me, but by no means is it a misfire, being rather misguided in a lot of ways, but nonetheless inspired in enough other places to endear, perhaps even musically. Often too quiet for its own good, this film doesn't even play up its already fairly forgettable score all that much, let alone its song soundtrack, but when those tunes come into play, although plenty of them run together, and often don't impress all that thoroughly, lyrically or musically, they consistently entertain, to one degree or another, with sheer charm, alone. When the quality really kicks in, the soundtrack really endears, yet the music of this film always plays a pretty respectable role in capturing the thematic depth of this ballad of a man expressing a life of joy and struggle through his charming music, though certainly not that much as it probably should in a film that often does a flat job of selling a worthy story. Conventional in concept and melodramatic, underexplored and draggy in its execution, this story is often so betrayed by lacking, maybe even aimless storytelling that it's difficult to get a feel for the depth of this drama, and yet, denying the value of this age-old drama about a man finding deeper regions of his humanity as he gradually comes to terms with his flaws and dwindling celebrity is all but impossible, or is at least made so by moments of true inspiration to storytelling. Such inspiration is a borderline rarity in this thinly scripted and often directorially toothless drama, but the patient are likely to be engaged by what is indeed done right here, whether it be within a script that carries clever dialogue and some intriguing moments to characterization, or within a thoughtful directorial performance that, when actually backed by some material, resonates, perhaps not thoroughly, but enough to compel. Scott Cooper's debut performance as a writer-director is shaky, make no mistake, and it's really hard to get invested in this drama because of that, yet there's always something charming about Cooper's sense of heart, kept pumping by effective moments that, to be honest, thrive on Cooper's work with a strong cast. From the charismatic, if underused Robert Duvall as a old buddy of our protagonist, to a dramatically effective Maggie Gyllenhaal as our protagonist's love interest, most every member of this film's respectable cast does a perfectly fine job of delivering on reasonably memorable performances that add to the selling of this character study, although it's Jeff Bridges, as the portrayer of this drama's central focus, who really delivers, though admittedly not nearly as much as many are saying, getting too caught up in his usual acting formula and having too little outside of that to work with to stand out, let alone be worthy of an Oscar that probably wouldn't be too much worthier in the hands of Bridges' fellow nominees (Jackie Earle Haley got no love for "Watchmen", probably because I'm the only jerk giving love to "Watchmen"), but still turning in a worthy performance that utilizes thorough charisma and ever so delicate subtleties to project the gradual change in a celebrity who comes to realize and work towards mending his flaws. Really, even the strongest elements of this drama, like the performances, aren't all that impressive in this limply handled effort, so the final product is all around kind of flat, but by no means mediocre, because whether it be because of the charm of its ambition, or true inspiration, the film endears time and again, despite its great deal of shortcomings. Overall, the occasional subtlety issue and many a convention are among the less problematic elements of a seriously undercooked, repetitiously draggy and atmospherically cold telling of a worthy story concept that is done too much injustice for the final product to stand a chance of transcending underwhelmingness, challenged enough by a decent soundtrack, some clever writing, thoughtful direction, and solid performances - particularly that of Jeff Bridges - to make Scott Cooper's "Crazy Heart" a charming, if kind of flat drama. 2.5/5 - Fair

Grant T (de) wrote: Amazing political satire. The scene with the garbage truck speaks volumes. Plus Hilary Duff is rediculously good looking in this one.

jan marah a (mx) wrote: great movie...the 2 actors are great in this movie...love the story...definitely a must watch..

Jamie C (ru) wrote: Brilliant Family Guy movie, Even though it's just 3 Episodes put together but still it's just what we expect from Family Guy.

Michelle F (gb) wrote: Disguisting.. The idea of a lonely woman who becomes a psycho is not bad at all, but I don't think the movie succeed. Some scenes were just gross.. Well, as you can see this is not my kind of movie. That one star is for Carol Kane, who played the psycho very well, and I also liked Jeanne Tripplehorn as Norah. But it's still scary as hell!

Scott C (fr) wrote: I don't remember this too well. Part of me thinks I should give it another chance one day.

Helen C (fr) wrote: Debra Winger's amazing eyes

Thomas B (kr) wrote: A half-assed lame attempt to capture the first films appeal.

Dominik N (nl) wrote: crazy whacky fun. the final scene is one of the oddest, most hilarious things I have ever witnessed, with (spoiler) price suddenly bursting into song.

Sebastin M (ag) wrote: Un tremendo clasico del cine. Me recuerda mi infancia, es una de las tipicas peliculas que pasaban en Semana Santa y si estaba en mi casa, las veia todas XD.Gran pelicula, un clasico!

Jenna G (mx) wrote: Taylor is great, but the movie is not. Especially that terrible ending.

Zhanyi J (mx) wrote: May have been great for its time, but outdated for today's standards.

Nathan F (mx) wrote: We Are Still Here is an awesome horror experience with a clever plot and great characters.

Tim M (br) wrote: Excellent narration by Cox. Great illustrations, acting and production, but it's too long and too slow. Needed more action and horror, less drama.