Jesus has had many faces on the big screen, with some more memorable than others.
The story of Jesus has been told many different times on the big screen, with a wide variety of interpretations. But what’s more diverse is the list of actors who have found themselves playing the son of God. Sure we all remember Jim Caviezel in The Passion of the Christ, but did you know Will Ferrell also once donned a wig and a beard to play Jesus?
Jim Caviezel in The Passion of the Christ.
Jim Caviezel - Celebrities attend the 2015 U.S. Open Tennis Championships Men's Final between Novak Jokovic and Roger Federer at Billy Jean King National Tennis Center - New York, United States - Sunday 13th September 2015
Can the sports movie stand tall against 'If I Stay' and the second 'Sin City' movie at the box offices this weekend?
Out in cinemas this weekend is an inspirational sports movie entitled When The Game Stands Tall, based on the true story of an extraordinary American Football Catholic school team. Jim Caviezel plays the coach Bob Ladouceur who took the De La Salle High School Spartans from obscurity to an astonishing 151-game winning streak.
Jim Caviezel plays the lead in When The Game Stands Tall, out in cinemas now
However, when that successful sequence comes to an end, ‘Coach Lad’ must pick the players up off the floor and teach them and the disappointed town that it’s effort, not the results, that is most rewarding.
Continue reading: Reviews Round-Up: When The Game Stands Tall
You know not to expect something deep and meaningful when a movie stars Stallone and Schwarzenegger, and indeed this is pretty much what we expect: a slick thriller that's utterly preposterous but not quite stupid. But the premise has a certain idiotic charm to it, and there are just enough clever touches to keep our brains engaged.
Stallone plays brilliant security expert Breslin, whose job entails being thrown into maximum-security prisons so he can find the weakness in the system. Clearly unbothered by being beaten and brutalised by guards and inmates, Breslin is backed up by a support crew (Ryan and Jackson) and his business partner (D'Onofrio) back in the office. But now the CIA wants Breslin to check out its new top-secret enemy combatant lock-down. To do this, Breslin must go off the grid. And when he realises that the evil warden Hobbes (Caviezel) isn't playing ball, he teams up with brilliant scientist inmate Rottmayer (Schwarzenegger) to, yes, plan an escape.
As the story develops we get the feeling that the screenwriters sat around thinking of ways they could make this prison increasingly impossible to believe. Indeed, one mid-film twist is so incredible that it actually makes us admire the writers' audacity. Arthouse director Halstrom gleefully indulges in all of this silliness, keeping the imagery sharp and cool while name-checking pretty much every cliche of both prison and heist movies. There's even a bit of political context in the way a private contractor is abusing the system to profit from the War on Terror.
Continue reading: Escape Plan Review
Ray Breslin is an expert in structural-security and has been able to break out of every prison he has been placed in using highly skilled and unusual methods. However, when he is asked to design an escape proof prison for the country's biggest life-sentenced felons, he finds himself betrayed when he is subsequently kidnapped and incarcerated by a masked figure in that prison with no way of getting out. It is there he befriends Swan Rottmayer; a smart but aggressive inmate who takes a shine to Ray when he explains his determination to escape. Swan agrees to help, but this time it's going to take more than just clever methods to break free and find the people who double-crossed him.
Continue: Escape Plan Trailer
Ex-con Nate (Caviezel) is trying to reconnect with his wife Robyn (Rohm) and sons (Knight and Cherry) on a camping trip in Louisiana. But their paths cross with a gang of armoured-car thieves (Frain, Perrineau, Downho and Baird), who hide their stash in the family's camping gear. Getting it back is trickier than they expect, especially after Nate has a run-in with the law in a backwoods Louisiana town, and Robyn leaves him to fend for himself. And the gang doesn't care who they kill to get their cash.
Continue reading: Transit Review
In 1986, French-Iranian journalist Freidoune Sahebjam (Caviezel) is driving through Iran when his car breaks down in an isolated village. Called "crazy" by the men, Zahra (Aghdashloo) corners him and recounts the brutal events of the preceding day. Defenceless in a society ruled by Sharia law, Zahra's niece Soraya (Marno) was the subject of a conspiracy led by her husband (Negahban), who wanted to marry a 14-year-old. To do this he had to gain the support of the local convict-turned-mullah (Pourtash) and the weak-willed mayor (Diaan).
Continue reading: The Stoning Of Soraya M. Review
It's safe to say that your enjoyment of the film is bound by this same rule. Dyed-in-the-wool film critics like myself have been down this road once or twice before, and the enormous leap of faith it takes to convince oneself that, deep down, even "bad" people are good makes me want to reach for my DVD of A Clockwork Orange.
Continue reading: Pay It Forward Review
The latest big screen adaptation of Alexandre Dumas' "The Count of Monte Cristo" has such a conspicuously clean Hollywood ending that, even though I've never read the book, I was suspicious and went online to bone up a little before writing this review.
Sure enough, even the central act of revenge that motivates this classic tale of obstinate, meticulous reprisal has been unduly rewritten to make for a cinematic and action-packed climax. The hero has been acquitted of his less honorable acts, the fates of characters have been drastically altered (those that haven't been dropped completely, that is), and comic relief has been shoehorned into the story so crudely you can almost see the impatient studio suit tapping his foot on the set and saying, "Can't this be funnier?"
Yet even with these gross departures, this "Count" has such a flavorful, popcorn-literature air about it that at its worst it still recalls the best of Golden Era swashbuckler flicks.
Continue reading: The Count Of Monte Cristo Review
Good ideas are rare in Hollywood. But rarer still is the tendency to leave a good idea alone.
"The Final Cut" represents the opposite tendency, to tinker with something until it's dead. Here is a terrific idea: in the future, parents will have the option to purchase a "Zoe chip" that will be implanted in their unborn child. From the moment of their birth, the chip records everything as the person sees it. After their death, a "cutter" takes the hours, days, and years worth of footage and assembles it into a two-hour film that, more or less, sums up the person's life. (Fortunately for the cutters, people's memories are recorded in Cinemascope and Dolby Surround sound.)
Continue reading: THE FINAL CUT Review
Beyond Jesus's inner circle of Disciples, relatives and Mary Magdalene, there's barely a single sympathetic character in the entirety of devoted director Mel Gibson's passion project "The Passion of The Christ."
Pontius Pilate, the tyrannical Roman governor on whose word the crucifixion went forward, gets a pass as a conflicted guy who was just doing his job -- killing Jesus to prevent a rebellion from a mob of frenzied Jews angry over his perceived as blasphemous preachings. Pilate's wife Claudia is a convert and therefore shown in a good light. There's a Jewish girl who tries to give Jesus water as he carries the cross on which he'll die through the streets of Jerusalem and a peasant father who has a religious epiphany by helping the now beaten bloody Jesus carry said cross.
Aside from a few people crying as Jesus is dragged past them, that's about it. Everyone else in this film seems to be a villain -- be they Roman guards who laugh maniacally (like James Bond movie henchmen) while whipping Jesus until his shredded skin looks like bloody, lumpy oatmeal, or be they Jewish hoards whipped into a frenzy by temple leaders, or be they the viciously evangelical rabbis themselves, whose spiteful rhetoric against his "heresy" sounds an awful lot like what still to this day comes from behind some pulpits and political podiums.
Continue reading: The Passion Of The Christ Review
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