The Killing of John Lennon
A dramatization of Mark Champman's plan to murder John Lennon.
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The Killing of John Lennon torrent reviews
April W (de) wrote: Not a bad story, but it could have been done better.
Blake P (us) wrote: It's too easy for characters in a film to get out of an uncomfortable situation. A substantial number of dramas avoid heavy conflict until it's time for the climax, when gloves have to come off for sake of some sort of conclusion based excitement. It's to be expected and oftentimes rewarding in terms of catharsis, but "Tape" is a special experiment in indie filmmaking because it is an entire movie consisting of that scene. Set in one hotel room and featuring only three actors for its entire length, anything developed is an aftereffect of confrontational conversation, two of the trio of characters dying to be anywhere else. The film reminds one of the naturalistic style of John Cassavetes, being photographed with a cheap camcorder and showcasing three unrefined, unflinchingly, dare I say it, real performances. And one can't imagine it was an easy production, considering the small size of the central hotel room and the way the cinematography is as visceral as cinematic camerawork can be. We are first greeted by Vince (Ethan Hawke), a small-time drug dealer/volunteer firefighter camped out in a seedy hotel room for his hometown's annual film festival. He has come back to the city in support of his high school buddy, Jon (Robert Sean Leonard), who, making his directorial debut, has won a screening of what he hopes to be a big success of a feature movie. "Tape" gets going when Jon knocks on the door, who expects a brief visit but gets something much more in return. Vince, cunning and nettlesome, is bothered by something that doesn't involve supporting Jon's professional aspirations in the slightest. What he's bothered by, it seems, is some unsettled drama from the last days of high school: Vince is certain that Jon date-raped his first girlfriend, Amy (Uma Thurman), with whom he never slept with himself. Concerned that the event might have been a trauma Amy never got over, he plans to, without Jon's knowledge, record a confession and hand it over to her, or better, the police. But because Jon is level-headed and mature in comparison to the squirrelly, cocaine-snorting Vince, we're slightly doubtful of Vince's accusations. So things get even more interesting when Amy herself comes to the hotel room, with a recollection completely different than what we might expect. "Tape" is only 86 minutes long, takes place in real time, and never changes its environment of drama - if it isn't the very definition of an acting movie, I don't know what is. It is reminiscent especially of 1966's "Who's Afraid of Virginia Woolf?," not for its content but for the way it is filmed without a hint of a stylistic singularity, letting the actors, the increasingly tense nature of the screenplay, jerk our senses around in ways that practically redefine the meaning of entertainment itself. Of course, it is too brief, and too minor when putting the careers of the actors into perspective, to be anything other than a fascinating acting exercise of high merit, but that doesn't make it any less of a vexing experience. It underlines the power of acting, and makes a good case for the brilliance of these three actors, who pull off roles more difficult than anything most mainstream actors would ever have the balls to deliver. It is also directed by Richard Linklater, whose iconoclastic filmography consists of such classics as "Dazed and Confused," the "Before ...." films, and "Boyhood." But "Tape" is unlike his other projects in that you can't tell that it's made by a big-hearted, humanistic auteur - he lets his actors, not to mention screenwriter Stephen Belber, do the talking, he the glue that pieces everything together. And so "Tape" is a sturdy, involving experiment, taking characteristics of amateur filmmaking and making them something concrete, confessional.
Elena S (mx) wrote: wow this film is became one of my subject study in class of risk management and it is very interesting topics that brought us to know what really happened on the world that day. and i very enjoyed to watch it again.
Evelyn L (mx) wrote: I loved this movie that is until Radu was destroyed.
Eric R (ag) wrote: Wakamatsu really has unique cynical sensibilities. I have watched this film a few times now and it still blows me away. The beautiful black and white imagery, the great jazz soundtrack. This film is pure nihilistic bliss.
Art S (mx) wrote: Reputedly H. G. Wells himself started out as the director before William Cameron Menzies had to step in. Menzies had been a famous art director (for example, on the silent Fairbanks version of Thief of Bagdad) and that talent shows through in this production, with some pretty tremendous sets in both the near future (showing what 30 years of war might do to "Everytown", that is, London) and the distant future (where people are living underground and things are all sleek and sci-fi). Arguments about war and conflict and whether and how we can live peaceably dominate the first half of the film with ideological discussions of technological progress (including whether traveling to the moon is worth it) dominating the second half. A few prognostications seem spot on but we are lucky that WWII didn't last 30 years - otherwise we might not see our current technological advances for another couple of decades. Ultimately, it's all a little didactic despite some ace almost-silent montage scenes, but remarkable nevertheless.
Tanner B (kr) wrote: Horse Feathers (1932) C-67m. ??? 1/2 D: Norman McLeod. Groucho, Chico, Harpo, Zeppo Marx. Fourth Marx film. Groucho is head of football university, Zeppo is his son; Chico and Harpo are hired as players, hilarity starts. Inspired lunacy with side-splitting football game finale.
Antonio L (ag) wrote: The beginning of the end with horrible over the top versions of 2 great villains and a very dumb tone has some good scenes where Bruce Wayne looks at its past but overall it just isnt good at all
Caleb M (kr) wrote: The acting is top-notch in this disease melodrama (Davis is beautifully sad), but there just isn't enough melodrama. It isn't bad or boring, but you can't help but feel a connection is missing somewhere.
Keith C (us) wrote: Wrought with truly abysmal performances and a frustrating pace, Night of the Demons does manage to sporadically entertain with moments of gross weirdness, but it so often just feels lazy. That being said, there is at least one scene that will certainly stick with you.
Carlos M (ag) wrote: The voyage home is the return to the status quo now that Spock is back to the crew where he belongs, and this is the lightest of the Star Trek movies, a delightful yet not-that-original incursion into comedy with a hilarious dialogue and a very welcome ecological story.
David E (fr) wrote: The performances here are strong, but the characters themselves are lacking, requiring far more development to move beyond being simple caricatures.The writer/director stumbles as well, poorly pacing the scenes, often grinding any momentum to a halt. There is an interesting story buried in this film, but Garcia is unable to tell it effectively.