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Tampilkan postingan dengan label Drama. Tampilkan semua postingan
Tampilkan postingan dengan label Drama. Tampilkan semua postingan

Unbroken

Unbroken

"If you can take it, you can make it."

Those words of exhortation come from Louis Zamperini's older brother, Pete, when the two sons of Italian immigrants are still in high school. But it turns out Louis will need to cling to Pete's counsel again and again throughout the excruciating trials that soon pile painfully upon him.

Bullies menace Louis in high school, resulting in fights he gets blamed for. It's a volatile situation, especially when combined with his penchant for smoking and drinking. But Pete's seen how fast Louis runs from teenage thugs and school administrators, so he encourages his little bro to join the track team … even offering to help him train.

Turns out Louis is fast. Really fast. As in, the fastest high school distance runner in America. Before he knows it, the so-called Torrance Tornado is competing in the 1936 Berlin Olympics, where he turns in a record time on the last lap of his race. Louis dreams of competing again in the 1940 Olympics in Tokyo. And he does make it to Tokyo … but hardly how he'd hoped.

World War II scuttles those Games, and Louis winds up as the bombardier on a B-24 Liberator in the Pacific—a plane that earned the nickname of Flying Coffin. That moniker proves prophetic when the engines on Louis' bomber fail, prompting his friend (and the plane's pilot) Russell "Phil" Phillips, to ditch it.

Louis, Phil and another airman named Mac are the only survivors. They lash two life rafts together … and begin marking time and praying for rescue as they strive to stave off starvation and sharks. Mac dies 33 days in. Two weeks after that—47 days after crashing in the ocean—Louis and Phil are rescued … by the Japanese.

Their rescue-turned-capture begins a two-year ordeal for Louis (who's soon separated from Phil) in three different POW camps: one near where they're captured, another near Tokyo and a third far to the north. In the last two camps, Louis and his fellows must endure not only the degradation of being prisoners of war, but the sadistic cruelty of Mutsushiro Watanabe, a monstrous man the Americans call "The Bird."

Beaten and humiliated time and again over the course of two years, Louis takes refuge in memories of his mother's prayers, his friend Phil's faith and those powerful, guiding words of his older brother:

"If you can take it, you can make it."

GENRE
Drama, War
CAST
Jack O'Connell as Louis Zamperini; C.J. Valleroy as Young Louis Zamperini; Domhnall Gleeson as Russell Allen 'Phil' Phillips; Finn Wittrock as Francis 'Mac' McNamara; Alex Russell as Pete Zamperini; John D'Leo as Young Pete Zamperini; Vincenzo Amato as Anthony Zamperini; Maddalena Ischiale as Louise Zamperini; Takamasa Ishihara as Mutsushiro 'The Bird' Watanabe
DIRECTOR
Angelina Jolie (In the Land of Blood and Honey)
DISTRIBUTOR
Universal Pictures
IN THEATERS
December 25, 2014

The Woman in Black 2: Angel of Death

The Woman in Black 2: Angel of Death

A bunch of London children are packed up and shipped off to a huge house in the country for safekeeping during World War II. And once there, they find something rather unexpected. 

Sounds a little like the beginning of The Lion, the Witch and the Wardrobe, doesn't it? Except there's no magical wardrobe ready to spirit curious kiddos off to a nifty land named Narnia in this tale—just a creepy old cellar, a supposedly locked nursery and lots of disturbing playthings. There's no lion, either. But a witch? Oh, yes. There's a witch.

No white witch, this one, but a mysterious, ghoulish figure who skulks through the house dressed all in black. She died in the house some time ago, but her sadness and hate make her linger. And she does love little children—to death. She'd like nothing more than have this new busload of little ones stay with her ... forever.

GENRE
Drama, Mystery/Suspense, Horror
CAST
Phoebe Fox as Eve Parkins; Helen McCrory as Jean Hogg; Jeremy Irvine as Harry Burnstow; Oaklee Pendergast as Edward; Adrian Rawlins as Dr. Rhodes; Amelia Pidgeon as Joyce; Jude Wright as Tom; Leanne Best as The Woman in Black
DIRECTOR
Tom Harper
DISTRIBUTOR
Relativity Media
IN THEATERS
January 2, 2015

American Sniper

American Sniper

They call him the Legend.

You wouldn't necessarily know it by looking at him. He's not eight feet tall or covered in jangling medals—just a burly ol' cowboy with a baseball cap and Texas drawl. But put him behind a sniper rifle, and Chris Kyle is war-torn Iraq's own avenging angel—a hand of judgment laid heavy on the enemy. With a perch on a rooftop and a finger on a trigger, he wields the power of life and death. A man runs into the street with a grenade, threatening the American troops below? Crack. Thoomp. A small spray of blood and one life is gone while others are saved.

It's harsh work, but no one does it better. The real-life Chris Kyle racked up more than 160 confirmed kills and probably hundreds more. He was so lethal that insurgents slapped an $80,000 bounty on his head and dubbed him the Devil of Ramadi. Not that Chris was phased by their threats: He signed up for four tours of duty and seemed, at times, invulnerable. He thrived in those Iraqi deserts, at home in the heat.

But in this movie from Clint Eastwood, it was home that felt dangerous to Chris. It was home that was dangerous.

GENRE
Drama, War
CAST
Bradley Cooper as Chris Kyle; Sienna Miller as Taya Renae Kyle; Brian Hallisay as Captain Gillespie; Luke Grimes as Marc Lee; Jake McDorman as Ryan Job; Max Charles as Colton Kyle; Kyle Gallner as Winston; Keir O'Donnell as Jeff Kyle
DIRECTOR
Clint Eastwood (Jersey Boys, J. Edgar, Hereafter, Invictus, Gran Torino, Changeling, Letters from Iwo Jima, Flags of Our Fathers, Million Dollar Baby, Mystic River)
DISTRIBUTOR
Warner Bros.
IN THEATERS
December 25, 2014

Exodus: Gods and Kings

Exodus: Gods and Kings

The gods? Pish. Moses can do without 'em.

In the ancient Egypt reconstructed here by famed film director Ridley Scott—where rivers, rocks and rising suns all have their own personal deities, where the pharaoh Seti scrutinizes animal organs for omens—Moses puts his faith in himself and his own strong right arm. As one of Seti's most trusted generals, he knows full well the challenges facing this riverfront empire: Neither Amun nor Osiris nor any other deity is going to save the Egyptian people from the Hittites. Moses and his princely stepbrother, Ramses, at the front of the Egyptian army, stand a better chance of protecting the kingdom than a handful of goose guts. 

So when a priestess uncovers an omen in some entrails—that in an upcoming battle a leader will be saved, and the savior will lead—Moses shrugs it off. And even when he does rescue Ramses from impending doom, he takes pains to minimize it. Prophecy, schmophecy.

Not Ramses, though. Even though the prince loves Moses like the brother he grows up to be, the foretelling now makes him a foe. And when Ramses hears rumors that Moses might not be Egyptian at all—that he could be, of all things, a Hebrew, one of those who were enslaved by the Egyptians 400 years earlier—Ramses knows that Moses will have to go.

Ridley's Ramses exiles Moses to the wastelands beyond the Nile, where Moses eventually finds Jethro and his fair daughters in the land of Midian. There, he finds a wife (Zipporah), a new life (as a shepherd) … and a new God to deal with. Moses' own son points to a mountain and tells him that it's sacred. "God's mountain," he says. And when Moses hesitates to accept, Zipporah chastises him for confusing the child.

"Is it good for a boy to grow up believing in nothing?" She asks him.

"Is it bad to grow up believing in yourself?" Moses retorts.

But when a few sheep scamper up this sacred hill and Moses runs after them, something happens to shake his agnosticism. He gets knocked around and knocked out by a landslide. And when he comes to, he sees a burning bush. Beside it, a child—a child who talks as no child should.

"Who are you?" Moses asks.

"I Am," the child tells him.

Moses told himself that he wanted nothing to do with all those gods. But it seems that God may want something to do with him.

GENRE
Drama, Action/Adventure, War
CAST
Christian Bale as Moses; Joel Edgerton as Ramses; Aaron Paul as Joshua; John Turturro as Seti; Maria Valverde as Zipporah; Isaac Andrews as Malak; Ben Kingsley as Nun, Sigourney Weaver as Tuya
DIRECTOR
Ridley Scott (The Counselor, Prometheus, Robin Hood, Body of Lies, American Gangster, A Good Year, Kingdom of Heaven, Matchstick Men, Black Hawk Down, Hannibal, Gladiator)
DISTRIBUTOR
20th Century Fox
IN THEATERS
December 12, 2014

The Hobbit: The Battle of the Five Armies

The Hobbit: The Battle of the Five Armies


When last we left Peter Jackson's three-part cinematic adaptation of J.R.R. Tolkien's The Hobbit, Smaug was swooping down upon the burgh of Laketown with desolation on his dragony mind. 

Smaug the mighty. Smaug the fire-bringer. Smaug the invincible. 

Or so he thinks. 

As the winged wyrm torches the tinderbox town, the man known as Bard nocks arrows to fell him. Smaug mocks. Smaug laughs. And Smaug dies. Bard's last projectile pierces the lone point of vulnerability in the dragon's otherwise impenetrable hide, slaying the hated and hateful beast. 

It should be a time of celebration. Of emancipation. But devastation is all that remains in the wake of the firedrake's conflagration. So the now-homeless denizens of Laketown turn their eyes toward their only nearby refuge: the crumbling walls of Dale near the gates of Erebor, the fabled mountain redoubt of the dwarves lately devoid of the scaly interloper that had slumbered there for six decades. 

The fallout of Smaug's downfall is not lost on the band of dwarves who plotted his eviction. Led by Thorin, they watch Laketown smolder from Erebor's heights. With Bilbo's burglaring help, they'd achieved their quest against long odds, vanquishing the dragon and reclaiming their ancestral fortress. 

It should be a time of celebration. Of emancipation. But more devastation awaits. 

That's because Erebor is home to the most fabulous treasure in Middle-earth … treasure all the races believe they're entitled to. The dwarves. The elves. The bedraggled refugees of Laketown, whom Thorin had promised recompense if they helped. 

But that was before Thorin saw it. 

All. That. Gold. In all of its blazing, beautiful, corrupting, corroding luster. Having seized Erebor's inestimable fortune, and having been seized by its seductive allure, Thorin has no intention of sharing any of it. 

"By my life," he vows, echoing Smaug's own declaration before he perished, "I will not part with a single coin, not one piece of it." 

Even if it means hardening his heart to the downtrodden survivors of Laketown. Even if it means going to war with an elven army led by their king, Thranduil. Even if it means spurning the friendship and counsel of Gandalf, Bilbo and all the other members of his company. Even if it means abandoning an army of dwarves (led by Thorin's cousin Dáin) that arrives at Erebor hours after Thranduil's bow-bearing elven battalion does.

"Will you have peace or war?" Bard asks Thorin on the threshold of a cataclysmic conflict. 

"I will have war," the dwarven leader spits. 

And that's when the orcs and the goblins and the wargs and the trolls and all manner of other misbegotten adversaries join the fray. Led by Thorin's lifelong nemesis, Azog, these creatures have still another claim in mind: the would-be dwarf king's head.

GENRE
Drama, Action/Adventure, Sci-Fi/Fantasy, War
CAST
Martin Freeman as Bilbo Baggins; Ian McKellen as Gandalf; Richard Armitage as Thorin; Ken Stott as Balin; Graham McTavish as Dwalin; William Kircher as Bifur; James Nesbitt as Bofur; Stephen Hunter as Bombur; Dean O'Gorman as Fili; Aidan Turner as Kili; John Callen as Oin; Peter Hambleton as Gloin; Jed Brophy as Nori; Mark Hadlow as Dori; Adam Brown Ori; Orlando Bloom as Legolas; Evangeline Lilly as Tauriel; Cate Blanchett as Galadriel; Christopher Lee as Saruman; Sylvester McCoy as Radagast; Lee Pace as Thranduil; Luke Evans as Bard; Manu Bennett as Azog; Lawrence Makoare as Bolg; Mikael Persbrandt as Beorn; Benedict Cumberbatch as the voices of Smaug and Necromancer
DIRECTOR
Peter Jackson (The Hobbit: The Desolation of Smaug, The Hobbit: An Unexpected Journey, The Lovely Bones, King Kong, The Lord of the Rings: The Return of the King, The Lord of the Rings: The Two Towers, The Lord of the Rings: The Fellowship of the Ring)
DISTRIBUTOR
Warner Bros.
IN THEATERS
December 17, 2014


Wild

Wild

Only a hundred or so more days to go.

After day one of her hike up the Pacific Coast Trail—a winding path that stretches from the Mexican border all the way up the West Coast of the U.S. to the outskirts of Canada—Cheryl Strayed is seriously questioning her willpower. And her sanity. 

But it was kind of a mental meltdown that got her here in the first place.

Her life has become a mess. She knows it, and everyone around her knows it. Before she set her feet down on this rough-cut trail, she had been on a self-destructive path of drug addiction and sex with strangers. It was a trek that had destroyed her marriage and sucked away her health. Maybe walking a thousand miles will set things straight.

If nothing else, this journey might give her a chance to think, to dissect the mistakes she's made, to salve the things that hurt the most. Maybe this exhausting slog filled with aching muscles, scraped knees and bloody feet will allow her to finally dig up all the stuff she's had buried down deep.

So she shrugs into her huge and agonizingly heavy pack once again. She takes the next step. She conquers the next mile. She embraces the next hour alone with her thoughts. 

With only a hundred or so more days to go.

GENRE
Drama
CAST
Reese Witherspoon as Cheryl Strayed; Laura Dern as Mom/Bobbi; Thomas Sadoski as Paul; Keene McRae as Leif
DIRECTOR
Jean-Marc Vallée (Dallas Buyers Club, The Young Victoria)
DISTRIBUTOR
Fox Searchlight
IN THEATERS
December 3, 2014

Urban Legends: Final Cut (2000)

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The first Urban Legend film ended with the death of the serial killer shrouded in mystery clearly pointing at a sequel. Urban Legends: Final Cut completely ignores that scenario (except until the very end) and comes up with a new one that is a rehash of the original film, but arguably executed slightly better.

In this film, Amy Mayfield (Jennifer Morrison) is a film student at Alpine University trying to come up with a thesis project. Given that her father is a famous director, there are heavy expectations placed on her. She finally decides on a project featuring a serial killer whose modus operandi is based on urban legends, myths where young college students are killed in hideous and gruesome ways.

Needless to say, this idea takes on a life of its own as people around Amy start dying. As in the Scream films, there are a lot of red herrings as to the identity of the real killer. In this film, the ending was one of the more surprising ones for me (though not completely a shock).

The suspense level in the film is fairly high (thanks in part of the surreal visual effects) and perhaps the cleverest aspect of the movie is that it dismisses the events in the first one as an urban legend (also the multiple choice involving guns at the end is amusing). The acting is passable. Urban Legends: Final Cut is a decent time killer and worth the matinee fare on the big screen. I don't recommend renting it though, unless you're a fan of the self-referential slash/gore horror genre.

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