Pulling back from his usual gothic look and dark, curtain-cloaked imagery, Tim Burton directed a really well-crafted and poignantly intimate biopic. Taking an interesting true story and giving it a light-hearted comedic touch, before venturing further into the drama of the central conflict, it felt very passionate in its depiction and even disturbingly prescient at times. This movie sports a top notch supporting cast, but this film really belongs to Amy Adams and Christoph Waltz, giving a couple of impressively committed performances as this troubled married couple of aspiring artists; Walter Keane (Waltz) won Margaret (Adams) over with his charm and eccentric giddiness, only to be taken over by his greed, hubris and incessant need to be the dominant presence (not to mention a near insane level of insecurity), allowing him to take credit, and profit, for her art while she goes virtually unrecognized. Amy Adams owned this role, portraying a woman who felt torn between what she truly wanted to do, what her husband convinced her she wanted and what society was pressuring her to accept. A timely story about the nature of art and those who create and critique it, as well as the subjugation of women and their art and accomplishments not receiving as respected of adoration than those made by men. It's a great fact-based tale that's given proper treatment here and told respectively, as well as dramatically. Liked this movie quite a bit. #BigEyes#amyadams#christophwaltz#timburton#terencestamp#jasonschwartzman#krystenritter
3.5 out of 5
Peligrosamente Juntos (Legal Eagles, 1986)
Tom Logan (Robert Redford) es ayudante del fiscal de Nueva York y candidato idóneo para sustituírle. Está divorciado, padece de insomnio y un día a la semana ve a su hija. Su brillante carrera profesional da un giro inesperado cuando empieza a trabajar en el caso de Chelsea Deardon (Daryl Hannah), una joven acusada de intentar robar un cuadro que, según ella, había heredado de su padre, el famoso pintor Sebastian Deardon. Durante la segunda investigación colabora con la abogada defensora, Laura Kelly (Debra Winger), una letrada, rival habitual de Tom, famosa por sus métodos poco convencionales.
Dirección: Ivan Reitman
Reparto:Robert Redford, Debra Winger, Daryl Hannah, Brian Dennehy, Terence Stamp, Christine Baranski y Steven Hill.
[♡] Olive — O Lar das crianças peculiares
Sinopse: Após a estranha morte de seu avô (#TerenceStamp ), o jovem Jake (#AsaButterfield ) parte com seu pai para o País de Gales. Lá ele pretende encontrar a srta. Peregrine (#EvaGreen ), atendendo ao último pedido do avô, que lhe disse que "ela contará tudo". Só que, ao chegar, descobre que o local onde ela viveria é uma mansão em ruínas, que foi atingida por um míssil durante a Segunda Guerra Mundial. Ao investigar a área, Jake descobre que lá há uma fenda temporal, onde a srta. Peregrine vive e protege várias crianças dotadas de poderes especiais.
Faixa etária: 12 anos
recomendo muito gente, é muito aaaa cool sz e eu amei essa personagem, a Olive então por favor assistam.
#qotd já viram ou leram o livro de o lar das crianças peculiares?
#aotd apenas vi o filme sz
— [#olardascriançaspeculiares#filme#netflix ]
Terence Stamp sobre o "General Zod". Vilão clássico que ele interpretou nos filmes Superman I e II: "Ele é um Hitler intergaláctico. Muito sério. Ele não tem nenhum senso de humor." #terencestamp#generalzod#superman#dccomics
‘’Adventures of Priscilla, Queen of the Desert’ (1994). Director: Stephen Elliot | Cinematography: Brian J. Breheny
“You know, there are two things I don't like about you, Felicia... your face. So how 'bout shutting both of them?”
Bitter Harvest (George Mendeluk, 2017)
Well, it may be the new year, but I did set myself a task in getting through last year’s schedule, and I’ll be damned if I’m going to leave a task unfinished. Unfortunately for me however, February 2017’s release schedule ended with this utter monstrosity of biblical proportions. It’s a dramatisation of a very unreported event of history known as the Holodomor, the man-made famine of 1930’s Ukraine that came about because of Joseph Stalin’s collectivisation policies, leading to the deaths of approximately 2-12 million people, and recognised by 15 countries as a form of genocide perpetrated by the Soviet government. And how does Mendeluk elect to tell this story, which his never before been depicted in a mainstream film? With a fictional, young adult romance which never happened, which plays out with the historical nuance and complexity of a Ladybird book. I’m not going to touch that much on the filmmaking or the acting itself (Its bad, and lacks any technical competence or dramatic nuance if you’re wondering), I’m just absolutely burning with rage at the sheer audacity of Mendeluk making a film that is evidently trying to capitalise on the commercial prospects of “tragic romances” (See Titanic or Pearl Harbour for examples of this). These types of films do not give a single fuck about telling the stories of victims of atrocities and national tragedies, they are designed to sell to a target demographic. I have nothing but absolute contempt for not only Bitter Harvest, but every single person involved with the making of it. You should all be ashamed, the victims of the Holodomor deserve much better then your shitty attempts at making a buck. #film#cinema#movie#badfilm#badmovie#shit#filmblog#filmcollection#filmoftheday#filmmaking#filmreview#filmposter#filmtime#bitterharvest#georgemendeluk#2017#maxirons#samanthabarks#terencestamp#drama#romance#action#historical#ukraine