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I'm not going to attempt to find loads of cinematic superlatives about this. It's just a great film that depicts the epitome of cruelty, indifference and kindred spirit at sea in spades. The crew of this powerful warship are treated little better than prisoners in a gulag. When the ship's doctor insists that their daily meat ration (which could "jump into the water by itself") is safe to eat, a few of them decide to take a stance. Their officer humiliates them, and when they refuse to back down he corners them on deck and orders them shot. This proves the flashpoint for his crewmen who proceed to seize the ship and sail to Odessa where they turn the guns on the army headquarters in the city and the conflagration grows. Will others join them, or will the status quo be returned and their ship destroyed...? Historians have already told us the answers to most of the factual questions, so it's not really about what happens - it is the magnificently poignant and suspenseful fashion in which Eisenstein paces the film. Clearly he has an agenda, his depictions are not exactly even handed - particularly the soldiers in the town dealing with the civilian population, but that doesn't overwhelm the overall sentiment of the sailors rebelling for just reasons, for decent treatment and for a degree of respect that was certainly lacking from their officers. The production itself is superb, the camerawork has an intensity that makes you feel as if you are actually on the boat at times. I'm sure there are more analytical reviews of this film to be had - but I think it is just a wonderful example of a man at the top of his game making an exciting film that delivers entertainment and a bit of thought-provocation in equal measure, at the same time.
A young British soldier must find his way back to safety after his unit accidentally abandons him during a riot in the streets of Belfast.
20 volunteers agree to take part in a seemingly well-paid experiment advertised by the university. It is supposed to be about aggressive behavior in an artificial prison situation. A journalist senses a story behind the ad and smuggles himself in among the test subjects. They are randomly divided into prisoners and guards. What seems like a game at the beginning soon turns into bloody seriousness.
101-year-old Rose DeWitt Bukater tells the story of her life aboard the Titanic, 84 years later. A young Rose boards the ship with her mother and fiancé. Meanwhile, Jack Dawson and Fabrizio De Rossi win third-class tickets aboard the ship. Rose tells the whole story from Titanic's departure through to its death—on its first and last voyage—on April 15, 1912.
A pragmatic U.S. Marine observes the dehumanizing effects the U.S.-Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue.
Nathan Algren is an American hired to instruct the Japanese army in the ways of modern warfare, which finds him learning to respect the samurai and the honorable principles that rule them. Pressed to destroy the samurai's way of life in the name of modernization and open trade, Algren decides to become an ultimate warrior himself and to fight for their right to exist.
Two families, abolitionist Northerners the Stonemans and Southern landowners the Camerons, intertwine. When Confederate colonel Ben Cameron is captured in battle, nurse Elsie Stoneman petitions for his pardon. In Reconstruction-era South Carolina, Cameron founds the Ku Klux Klan, battling Elsie's congressman father and his African-American protégé, Silas Lynch.
During their travel from Chicago to New York, Harry and Sally debate whether or not sex ruins a friendship between a man and a woman. Eleven years later, and they're still no closer to finding the answer.
Five different criminals face imminent death after botching a job quite badly.
Gabriel, Bobby and Costa are old friends from Altona, a multicultural hood in Hamburg. Just out of prison, Gabriel wants to turn his back on crime, but the others continue to operate as petty criminals. Friendships are tested as the trio navigate a dark world of mafia bosses and deals gone wrong.
Guido Anselmi, a film director, finds himself creatively barren at the peak of his career. Urged by his doctors to rest, Anselmi heads for a luxurious resort, but a sorry group gathers—his producer, staff, actors, wife, mistress, and relatives—each one begging him to get on with the show. In retreat from their dependency, he fantasizes about past women and dreams of his childhood.
Lichter is an episodic tale from Hans-Christian Schmid about the life on the border between Germany and Poland. The film sheds light on the everyday stories of escape and desperateness.