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You and this child are in danger of spending eternity in everlasting damnation! Directed by Jon Amiel, Sommersby is adapted from the historical account of 16th Century French peasant Martin Guerre. It was previously filmed as The Return of Martin Guerre in 1982. It stars Richard Gere, Jodie Foster and Bill Pullman. Music is by Danny Elfman and cinematography by Philippe Rousselot. In simple terms the film is about a man (Jack Sommersby) who went off to war and was presumed dead by his wife (Laurel) and the village folk of the village where he lived. Some 9 years later he returns a changed man, back in the marital bed and a hero to the village. But then questions start to crop up and it becomes a possibility that this man may not after all be who he claims to be. Sounds bizarre for sure, yet it's a true story, and a fascinating one at that. For this American version we get top line production values across the board, with the film propelled with grace and skill by Gere and Foster in the lead roles of Jack and Laurel Sommersby. Director Amiel rightly uses the slow burn approach, a consideration to the art of story telling. This draws the viewer firmly into the post Civil War period and lets us get to know the principal players and their surroundings. The core narrative thrust is a moving romance, one consistently under pressure of a mystery to be proved or disproved. But there's also economic issues to hand, very much so, and the vile stench of racism still hangs in the air. There's a lot going on in Sommersby and it never sags because of it. Also refreshing that in spite of some critical grumblings in some quarters, the ending is potent and not very Hollywood at all. It's not flawless and although it's based on a true story, some suspension of disbelief is needed as regards physical appearance of Jack and his means and motives. Yet this is a lovely film, simple in story telling structure, beautifully photographed and performed, it very much feels and plays like a classic era period piece. 8/10
Diogo Alves is a Spanish fugitive that comes to the Portuguese capital terrorizing the inhabitants by his cut-throat methods against rich and poor people alike. He attacks the women launderers on the Lisbon Aqueduct and throws the bodies over the high wall, and assaults homes with his large band of criminals. Eventually arrested, he, his female companion and his henchmen are condemned to death by the court.
Il Tempo Dell'Amore (A Time to Love) is an omnibus film of three different love stories that take place in three different eras and locations. The common element is the theme: love causes a lot of pain.
1991. Harrison Lloyd, a renowned photojournalist covering the war in Yugoslavia, is reported missing. Sarah, his wife, convinced that he is not dead, decides to go to Bosnia to find him.
A strange mortician tells four horrific tales to three drug dealers that he traps in their local funeral parlor.
For six hundred years Sweden had controlled most of Finland until the war with Russia that ended in 1809, when Finland became a Grand Duchy of the Russian Czar. This period drama is set during that early 19th-century war and focuses on one of its heroes, Sven Tuuva. Sven is a decent yet not too brilliant soldier, and his exploits are partly balanced here by the charms of a compatriot.
In the throes of a zombie apocalypse, a troubled woman from Las Vegas with a dark past, finds herself stranded in the desert with a lone and ravenous zombie on her tail.
A teen, jailed in an adult prison in Britain, takes his own life in July 1990.
An elderly ex-serviceman and widower looks to avenge his best friend's murder by doling out his own form of justice.
Hildegart is conceived and educated by her mother Aurora to be the woman of the future, to become one of the most brilliant minds of Spain in the 1930s and one of the European references on female sexuality.
After 31 years at-large, detectives in Wichita, Kansas hone in on the serial killer known as BTK.
Enforcing the law within the notoriously rough Brownsville section of the city and especially within the Van Dyke housing projects is the NYPD's sixty-fifth precinct. Three police officers struggle with the sometimes fine line between right and wrong.
