We all know the soundtrack, those simple few chords that have backed many great sporting moment have become synonymous in the sporting world. Now, after 31 years since it's initial release, the true story of two very different runners in the 1924 Paris Olympics will be released once again, this time in full digitalised glory, as Chariots of Fire is set to be released once more as part of the London 2012 Festival.
Continue: Chariots Of Fire Trailer
Artemidorus's warnings to Julius Caesar, soon to be given dictatorial powers in Rome, falls upon Caesar's deaf -- and soon dead -- ears and the Roman conqueror trundles off to the Senate to be stabbed to death by his best friends. In Shakespeare's play, the rejection of the warning by Artemidorus is more fodder for Caesar's ballooning ego. In Joseph Mankeiwicz's 1953 film version of Shakespeare's classic, Artemidorus's warning is like a howl in the wilderness. For Mankiewicz, adapting and directing during the height of the period of the blacklist, the warning takes on a different context of a McCarthyesque conspiracy to bring down society, a mass madness so potent that even honorable men become embroiled in the hothouse hysteria.
Continue reading: Julius Caesar Review
The film begins disconcertingly in the middle of a hellish battle during the final days of World War II, a chaotic prologue featuring gargantuan explosions, fleeing Nazis, and stampeding elephants. Then in a whiplash inducing segue, the film settles in to Los Angeles in the late 1970s, where Scott plays loner LAPD detective Barney Caine ("There's only two things that matter to me -- my son and my work. The rest of my life is a complete zero."), investigating the killing of his old pal Tom Neeley (Robin Clarke). The crime scene is laid out like the opening scene of a Charlie Chan movie with mysterious clues all about -- a voodoo doll, a map with the name "Oberman" scrawled on it, a folded newspaper with the letter G-E-N-E written in blood -- and Caine falls for the setup to avenge the death of his friend.
Continue reading: The Formula Review
It's the mid-12th century and Normans have controlled England and its resident Saxons for two generations. The latest Norman leader, Henry II, has employed a Saxon, Thomas Becket (Richard Burton) to be his unofficial right-hand man. When he decides to make the title official, appointing Becket as chancellor, it only makes the already jealous Norman nobles and clergy angrier. When he goes even further and decides to quell an unruly church by appointing Becket as archbishop, it seems the nobles and clergy might revolt, but Henry finds that it is Becket, suddenly torn between his duty to King as chancellor and to God as archbishop, from whom he has the most to fear.
Continue reading: Becket Review
And what jokes they are! The very American Robert Morse stars as a British visitor to L.A., a wannabe poet who gets caught up in the machinations of a cemetary owner (Jonathan Winters) and his top mortician (Rod Steiger in the role of a lifetime). It's more cult than cemetary, and Morse soon becomes enchanted with one the cemetary's guide/beautician/chanteuse (a dippy Anajette Comer). The film haphazardly careens from subplot to subplot, eventually settling into a set piece about a kid obsessed with rockets, which Winters sees as the solution to the problem of running out of space for "loved ones" in the cemetary (aka corpses).
Continue reading: The Loved One Review
In a recent biography of Marlon Brando, writer Darwin Porter 'exposed' the actor's homosexual celebrity affairs.
Marlon Brando's new biography paints 'The Godfather' actor in a new light, as it reveals how he slept his way around Hollywood. The biography also claims that he slept with some of his male directors and co-stars. The biography, 'Brandon Unzipped', by Darwin Porter claims that the bisexual Academy Award winner engaged in a sexual relationship with James Dean, Cary Grant, Montgomery Clift and Sir John Gielgud.
Related: 'The Godfather' House Is Up For Sale
In the book, Porter says: "James Dean was one of Brando's most lasting yet troubled gay relationships. They had a relationship for a number of years but it was always turbulent. At one point they had a big stand-up fight at a party in Santa Monica, California, witnessed by dozens of people. His affair with Montgomery Clift was a long and enduring relationship."
Continue reading: Marlon Brando's Homosexual Celebrity Affairs Revealed
This is our loss and Australia's gain, because Shine comes off as one of the upper-echelon films of the year, an ambitious and unflinching look at that country's David Helfgott, a prodigy of a pianist driven insane by his father, only to emerge again after 20 years of institutionalization.
Continue reading: Shine Review
The undortunate side effect of the faithfulness is that Richard III has a real Masterpiece Theatre quality that you just can't shake. Olivier plops the camera down at one end of the room and lets scenes take place in wide shots, unmolested. Long scenes are certainly forgivable, but the end result is that this rendition of the story looks far more like a play than a movie. It isn't until the second half of the film when we really get out of the castle, and thank God we do. But unfortunately, even these scenes aren't exactly thrill rides. The landscapes chosen are barren and void of majesty. Sword fights are genteel affairs with no distinguishable choreography. Why ride an army out to battle if you're not going to use them?
Continue reading: Richard III Review
The movie revolves around baby-voiced Griffith posing as a domestic (from Düsseldorf, no less) for a high-ranking Nazi (Liam Neeson), tending to his kids while picking up information on the sly. That's not a bad idea, but it becomes a terrible idea since Griffith makes no attempt at a German accent. You keep wondering how the Nazis were able to make a sandwich. They maintained a military juggernaut? Thank God they were so oblivious.
Continue reading: Shining Through Review
But seriously, that's what you're going to be doing if you see The Portrait of a Lady -- Jane Campion's follow-up to The Piano, based on Henry James's "classic" novel that you've probably never read. Now, I'm wishing that I had, though, because Portrait is a fantastic movie to watch, exquisitely crafted and painstakingly detailed, gorgeously photographed and full of style -- but it is just plain impossible to follow.
Continue reading: The Portrait Of A Lady Review