Movies Posts Tagged as 'Best In Drama'
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Miracle Worker, The (1962)
Wild child with disabilities gets reformed by teacher whose demons compel her to impart self reliance. The film's effectiveness relies on protagonist nerve and muscle. Duke and Bancroft, not only slap it, punch it and break it they receive it, just as well. The psychology was that a child that inflicts pain must undergo it to better understand their crime. All the parental rules we dethroned, helped erect the special intelligence of an unidentified child. At end of story, the combatants celebrate the characters and, I hope, each other for a job well-done.
Others, The (2001)
Children and the help, quarantined with a compulsive mother obsessed with the idea of being as great as God. It's made of Hitchcock walls, star quality is legend of old and the understated score unnerves. It's refined spookery. Nic is powerhouse mama alleviator and authoritarian, putting the kids sweetly to bed, one minute and wanting to chop their heads off, the next. The ending is ruined once you know it but the lesson still rings true. Nothing ever is as it seems. 27-Apr-2020
Jaws is the ultimate water pandemic. It's misinterpretations no longer matter, because its proven law. We panic, take precautions and find a loophole to reopen. The loophole is that there's always a bigger shark out there. A sentiment for only the purest of heart.
My mother and my sister would call me Spielbergio, every time I would pick-up a camera. They eventually bullied me into putting it down (Thank God.) I thought it was cute but they were being harmful.
Mr. Spielberg opens doors to the imagination like a magician disappears from a box. It's simple, you can figure it out but the trick always works. Where did he go? He wills everything wider, cleaner and funner.
Ultimate daddy squish (Scheider,) a fiery one nighter daddy (Shaw) and a blubber daddy with smarts, cool gadgets and a checking account (Dreyfus,) generate all the magnetism a film needs.
John Williams' score tells it's own story.
I loved every minute of Bruce and the hard work involved to scare us.
A masterpiece because it was never about a shark, it was about us.
Train To Busan (2016)
Zombie apocalypse gets an epic disaster movie treatment. I thought there was nothing left to do with a zombie but I was thrillingly surprised. The zombies are quick, staggering and evolved. Yeong Sang-ho returns as many things as he borrowed, lending it a huge amount of humanity and eagerly expanding the perception of claustrophobic spaces. Daddy mass clobbered, daddy major stepped up and daughter darling broke our hearts. 18-Feb-2020
Steel Magnolias (1989)
Time grants us a reexamination of art. The cast brilliantly transcribed the written word like it was meant for them. Ross creates a world fantastic that you want to suffer in. 17-Mar-2019
A Face In The Crowd (1957)
"Bad News" becomes overnight sensation. Andy keeps his character insufferable, Patricia Neal tastefully shifts from intelligent administrator to emotionally duped and Kazan imprints it with raw emotional tremor. It still reverberates because we still apply the same politics without accepting its downfall. 28-Jan-2019
A grand illusion envisioned by perfectionists. Bergman contains her judgment and allows history to determine as Brynner showcases the array of his Jedi talent. The film commits to its deception. 24-Sep-2018
A Raisin In The Sun (1961)
Our predecessors left us an honest slice of life art to authenticate their struggles and to cultivate resolution for their successors. The players are fierce and representative, the writing/directing excels in depiction and respect and the past allows us to retrospect and opine our future. Respect. 31-May-2018
Johnny Eager (1941)
Robert Taylor plays a hood hellbent on street cred by subjugating his past and flaunting his fortitude. Lana is an unappreciated diamond whose badboy fangirl status welcomes tragedy and Van Heflin is a dulcet toned philosopher lackey who farts predictions of everyone with words so striking they agitate the heart.
It's gangster mature that celebrates the completion of man when he embraces his soul.
Taylor hunts and kills for the egg, Lana boils and serves the egg and Heflin eats it. 20-Dec-2017
Little Foxes, The (1941)
Atmospheric, rigorous and contentious. Bette is shatterproof porcelain doll perfection, commandeering the self-destructive avarice of southern family dysfunction. It becomes art when Wyler treats us to a camera hold on Ms. Davis as her husband struggles and she ponders without a blink. Brava.
Ethnicity is represented as it existed in history and the limitations of its time. You have to understand that even though they are not the story, they have a voice because real black actors put a soul to it and they opened the doors for the equality we lost. I'd rather appreciate their contribution than erase them from history. 29-Aug-2017
Mildred Pierce (1945)
Catered Affair, The (1956)
It takes a few scenes before you get accustomed to Bette's accent but once it happens you are converted and transported by an actress who rarely took anything for granted and whose talent was just as big as her persona. Debbie Reynolds sparkles beautifully as the conflicted daughter and Borgnine epitomizes the tired working man of his era. The script keeps the action minimal and the truth scathing whilst Richard Brooks gives us the setting then points his camera towards the actors who make the story gust. It has become a past delicacy that is now a new favorite. 24-Mar-2017
Rear Window (1954)
Perfection in moviemaking proliferates from a director who embraced the simplicity of cinema. He never made it difficult for us to understand to seem smarter. Hitchcock utilizes the camera as an unseen dominance that can manipulate the story, the characters and the mood. Details are abundant as the nuances of its leads, Stewart, Kelly & Ritter unite and triumph as they unveil them. A man who never feared a moving camera is a director that inspires art. The missteps we are blind to because the art shimmers emphatically. 06-Mar-2017
A Streetcar Named Desire (1951)
Brando's Stanley Kowalski is an untamed, searing bully breeder. Leigh's Blanche DuBois is multiplex in drag and as breakable as a once fine tea cup that life has chipped at unflinchingly. Somehow the great Tennessee Williams pits them in a dogfight for alphadom and what ensues is not naturalistically pretty but brutally honest as everyone reaches the pinnacle of high art. Kim Hunter plays the sometimes understanding sister and almost always faithful wife of the sexist brute that created her G spot and Karl Malden portrays Mitch as a lonely and desperate sad sack whose sickly and overbearing mother has sheltered him from the tricks Blanche employs to entrap him. These two are the yes men who are the observers and recipients of the fight the two brass are sanctioning to the death. Kazan masterpiece. 06-Feb-2017
Close Encounters of the Third Kind (1977)
The wealth of enormity and magic is in every frame that Spielberg comprises, every note that Williams hits and that every actor emotes. Spielberg devises a fairy tale sci-fi that frightens with further fundamental examination. He liberated our minds to see fascination in every dark sky, escape into a magnanimous and boundless universe and to believe. The aliens themselves are a fail. Everything depends on that moment and all I saw was costumed babies blindly bumping into each other and a very non-specific leader sadly fragmented of clay. We forgive it because Spielberg has already tapped into the part of our brain that can concoct the better outcome and a place in our hearts that will trust his lead because he gifted enough. 31-Dec-2016