My Name Is Bill W.
Based on the true story of Bill W. (James Woods), a successful stock broker whose life falls apart after the stock crash of the 20's and how he comes to grips with his alcoholism. Along with a fellow alcoholic (James Garner) he forms a support group that would eventually become Alcoholics Anonymous.
- Stars:James Woods, JoBeth Williams, James Garner, Gary Sinise, George Coe, Robert Harper, Ray Reinhardt, Fritz Weaver, Rick Warner, Joe Inscoe, Susan Duchow, Rich Valliere, Mark Joy, William Aylward, Richard Travis,
- Director:Daniel Petrie,
- Writer:William G. Borchert
Based on the true story of Bill W. (James Woods), a successful stock broker whose life falls apart after the stock crash of the 20's and how he comes to grips with his alcoholism. Along ... . You can read more in Google, Youtube, Wiki
My Name Is Bill W. torrent reviews
(ag) wrote: I liked this movie, thought it was pretty good.
(fr) wrote: Similar in theme to "Monster Camp", "Darkon" documents the lives of live-action role players, both "in character" and "out of character." The two films are very dissimilar, though. "Monster Camp" focused on the difficulties of managing a game called "Nero", in which scripts had to be written, volunteers clothed and armed, and "non player characters" impersonated according to very specific computer print-outs. In Darkon, there are no scenarios, everybody is a player character, and the action emerges from the decisions of "nations" (i.e. groups of PCs) trying to expand their territories, and making and betraying alliances with other "nations". Moreover, while Nero was entirely concretised, Darkon retains an imaginary map, whose hexagons change colours according to the outcomes of real fights played out on soccer fields or in fake castles. And finally, while the costumes in Nero are very campy, those in Darkon includie real plate armor and chain mail, making the game much closer to historical reenactments. I found "Darkon" to be a rather cruel documentary. What you see is people trying to compensate for their real-life inadequacies by impersonating imaginary heroes, and recreating in the virtual world the same kinds of relationships of domination, the same behaviours and situations as in real life. One player explains how his training for the mock battles has helped him lose weight, but he is still obese. A chainstore employee who is put upon by his customers realises he gets the same kind of treatment from the other players. A former real-life stripper dances seductively around the campfire. A stay-at-home husband who had been crushed by real-world dog-eat-dog competition gets crushed by its counterpart in the virtual world. And the real-life leaders use the same charisma and ability for speechifying to get to the top in the game world. I felt that there was less camaraderie abd playfulness in Darkon than in Nero, and much more ruthlessness. One player comments that during battle, you can see the red in other people's eyes, and when these guys recount the joys of the battlefield, you cannot help thinking that historians could gain some insight about, say, the Vikings, just by talking to them. The film also made me realise the tragedy of so many people deserting to fantasy worlds because they find no room for heroism or great deeds in their daily environment. This only makes the situation worse, abandoning the real world to unimaginative, buraucratic minds, and making future desertions even more likely.
(de) wrote: What a wanky piece of crap! 'Introducing Mick Rossi' who coincidentally co-wrote this ridiculous thing. I don't know how Gabriel Byrne et al were convinced to be a part of this. Bad choices in soundtrack and structure made it a long, cheesy, boring struggle. Sigh...
(au) wrote: An awesome film......
(au) wrote: My main criticism with Lars von Trier's feature film debut 'The Element of Crime (Forbrydelsens element) (von Trier, 1984)' was that the plot was overly-complex. A twisting film noir told through the main character's memories as he undergoes hypnosis, it's an interesting, if problematic, achievement. Visually, it was a beautiful movie, but the story was incredibly difficult to penetrate and impossible get a good grip on. But with his second feature film, von Trier has gone in a completely different direction. Aesthetically it is remarkably drab, while the plot seems included almost as an after-thought. But of course, it is a von Trier film, so there is intriguing something bubbling just below the surface.'Epidemic (von Trier, 1987)' starts with Lars von Trier and Niels Vrsel having just lost a 200 page screenplay they were working on, names "The Cop and the Whore" - quite possibly alluding to 'The Element of Crime'. Mutually agreeing they were dissatisfied with the screenplay anyway, they set about writing a horror tale about the bubonic plague.The majority of 'Epidemic' deals with the script writing process, as von Trier and Vrsel discuss ideas for their story. This is intercut with these ideas coming to life on screen, in a more generic movie manner. Von Trier plays Dr. Mesmer, a scientist who leaves his safe refuge after the disease has struck to try and cure those affected.However, the actual "movie" part of this film is often pushed aside in favour of discussions between von Trier and Vrsel. It's a fascinating look into the actual scripting process, but often the conversation seems to veer into nonsensical territory. Unbeknowst to them, while working on the script an actual epidemic is tearing through Germany. On a surface level, this could be construed as a curious comment on art imitating life. But von Trier is trying to get at a deeper meaning.'Epidemic' is the second part in his "Europa trilogy" - each of the films dealing with the problems von Trier sees in Europe. Here, as the notions of reality and fiction are blurred, von Trier appears to be highlighting the idea that Europe is already experiencing an epidemic. Of course, much of this is open to interpretation, as many of von Trier's films are, but the idea of ignorance as a disease seems to be eating away at the core of this film. Those who turn a blind eye to the problems within the world, as we see by the films conclusion, will only find themselves having to face those problems before long.Lars von Trier is a powerful visionary with very unique and interesting ideas. He seems enraptured with film as a medium, and indeed suggests here its power to act as hypnosis - an idea that is raised in 'The Element of Crime' too. While 'Epidemic' works with some interesting themes, it fails to really deliver satisfactorily. Too much time is seemingly spent on the film-making practices, diluting the movie's more serious messages. While film is employed here as a medium to express ideas quite self-consciously, von Trier hasn't quite yet managed to harness the power of the medium. But as a burgeoning director, he is certainly showing a remarkable amount of potential.
(ca) wrote: For a sequel to an epic World War II movie, this is pretty good. Although it doesn't measure up nearly as high as it's predessor, it has its moments of glory.
(es) wrote: I'll admit that film school ruined this one for me. Being told you have to like something OR ELSE makes a person not like something.
(ca) wrote: It's not exactly perfect, but I LOVE this movie and have since I caught it on tv late one night when I was about 12! Stockard Channing is wonderful...
(it) wrote: Well that was ridiculous... It looked great and i love the 70s killer animals vibe, Ray Miland was a bonus, and it was crazy seeing Sam Elliot so young. But... I'm confused. how exactly were those frogs killing these people? they just kind of hoped around on them, and they'd die... lol
(fr) wrote: creepy Joan is off the chain
(es) wrote: There's no drop in quality in this excellent third installment in the finest comedy or mystery series of all time. William Powell and Myrna Loy are simply magical together, and they're matched with a fine supporting cast, excellent script and some of the very underrated director Woody Van Dyke's best work.