- Masterprint Title: The Crucible Poster Movie B 11x17 Daniel Day-Lewis Winona Ryder Paul Scofield Joan Allen
- Size: 11 x 17 inches
YES - DVD MovieIt's unsurprising that a movie written in rhyming verse would have stilted or self-conscious moments--but the sumptuous beauty, sinuous rhythms, and cinematic intricacies of
Yes may astonish viewers who expect something stuffy or antiquarian. The plot is little more than an affair between an unnamed Irish-American biologist (Joan Allen, once the queen of repression in
The Ice Storm, now becoming an art-house sexpot in this and
Off the Map) and an unnamed Middle-Eastern chef (Simon Abkarian,
Ararat), yet the movie explores just about everything: Marriage, religion, international politics, motherhood, and the nature of zero, while travelling from London to Belfast to Beirut to Havana. Writer/director Sally Potter (
! Orlando,
The Tango Lesson) has enormous ambitions;
Yes abounds with complex ideas and daring flourishes, both verbal and visual, juxtaposing the austere and the erotic, intellect and grief. If not everything succeeds, what doesn't is more than made up for by what does. Also featuring Sam Neill (
The Piano,
Jurassic Park) as Allen's aloof husband and Shirley Henderson (
Topsy-Turvy) as a housecleaner with a philosophical perspective on dirt.
--Bret FetzerWhen the truth becomes a weapon, power comes at a stunning price. Gary Oldman, Joan Allen, Jeff Bridges and Christian Slater deliver electrifying performances in this controversial, suspenseful and critically-acclaimed thriller that Ebert & Roeper and the Movies call "exciting and unusually intelligent, two very enthusiastic thumbs up!" Sometimes you can assassinate a leader without firing a shot.Depending on your perspective,
The Contender can be praised and damned for the! same reasons. A political thriller with an insider's view, it! 's deadl y earnest in its defense of truth, justice, and the American way, but writer-director (and former film critic) Rod Lurie resorts to the same manipulation that his film purports to condemn. But with political savvy, a timely idea (a female vice president), and a cast of first-rate actors, this high-office chess game is unabashedly entertaining. You can argue with Lurie's tactics, but you can't fault his patriotic passion.
In a role written especially for her, Joan Allen is outstanding (if a bit too saintly) as the Republican-turned-Democrat senator who is chosen by the president (Jeff Bridges) to fill a vice presidential vacancy. Bridges is a cagey chief executive, seemingly aloof as he gleefully challenges the White House's 24-hour kitchen staff but more than a match for the embittered and unscrupulous congressman (Gary Oldman) who plots to destroy Allen's character with seemingly dark secrets from her past.
As a gender-switching response to the Lewinsky scandal, The! Contender asks potent questions with its impassioned plea for integrity in public service. That makes this a film well worth defending, and the stellar cast (which includes Christian Slater and William Petersen) triumphs over most of the plot's hokey machinations. The ideas are more compelling than their execution, however, and although Lurie's climactic revelation is a vast improvement over the reckless cheat of his previous film Deterrence, it still threatens to tarnish the gloss of an otherwise fascinating film. --Jeff ShannonAn amazing photographic addition to the history of the early Republic
"I wondered if it was possible to use photographic and documentary evidence to re-create the first generation of Americans--those men, women, and children bound together by having lived during the Revolutionary War. . . .While there were many images in public collections or owned by collectors, I knew through my work as a curator and as a collector that! there were likely even more in private family collections."--from the Introduction A remarkable work of documentary history, The Last Muster is a collection of rare nineteenth-century photographic images--primarily daguerreotypes, ambrotypes, and carte des visite paper photographs--of the Revolutionary War generation. This extraordinary collection of images assigns faces to an un-illustrated war and tells the stories of our nation's founding fathers and mothers, updating and supplementing research last collected and published over a century ago.
In her comprehensive introduction, author Maureen Taylor explains how she came to this project and collected the images. She also describes her exhaustive primary source research involved in dating and identifying each image and investigating the story and genealogy of each subject. The array of seventy images is expansive and includes veterans, loyalists, Native Americans, African Americans, children who witnessed battles and aided soldiers, and women who nursed the wounded! and even took up arms themselves. Although the faces that gaze at the reader are old and wizened, the stories they tell are of youthful bravery in the young days of the republic.
The Last Muster is a much-needed contribution to the history of the American Revolution, the early Republic, and the history of photography. Through these portraits and the accompanying narrative, readers will have the opportunity to relive the Revolutionary War. The re-release of Jerry Aronson's biopic, The Life and Times of Allen Ginsberg, timed to celebrate the fiftieth anniversary of "Howl," suits this wonderful documentary and proves Ginsberg central to all radical artistic and political movements of the past 60 years. The feature-length film, segmented by decade, provides ample footage of Ginsberg's life; but extras added into this package, including footage of his memorial and 35 interviews with artists inspired by the visionary poet--from Beck to Lawrence Ferlinghetti--sol! idify Ginsberg as an American cultural icon. The film unravels! Ginsber g's obsession for life and death around his mother's nervous breakdown and his father's affinity for poetry. Interviews with Ginsberg from each decade, both amongst his Beat friends like Burroughs and Huncke, and later with talk show hosts William Buckley and Dick Cavett, show the author's progression from sexual politics in the '40s and '50s to the "politics of ecstasy" in the '60s and '70s, when he founded the Flower Power movement with Tim Leary, and later, Naropa Institute. Ample footage of Ginsberg's stepmother provides a sensitive outsider's opinion on how he blossomed into one of the most spontaneous minds of the century. The film transcends simple Ginsberg descriptions by framing his life with historical happenings to contextualize the author's words and actions. The Life and Times of Allen Ginsberg reminds the viewer that there is no better example of an artist devoted to a life of letters, activism, and idealism than the original beatnik. --Trinie Dalton
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