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Everyone knows how Romeo and Juliet ends, but after this version of the story, there really is no way of knowing how it will begin. The narration starts with the famous “Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean.” But then, totally out of the blue, the narrator adds: “And so the prince has called a tournament [as in jousting] to keep the battle out of the city streets.” If you're thinking that there's no jousting in Romeo and Juliet, you're absolutely right. The oddest thing of all, however, is that there is no jousting in this movie either. We see knights in armor, holding lances and riding horses, but director Carlo Carlei and screenwriter Julian Fellowes curiously forget about this novelty almost as soon as they introduce it. Do Romeo and Tybalt decide Juliet’s fate like Wilfred of Ivanhoe and Brian de Bois-Guilbert do that of the Jewish Rebecca? Not at all; as I hinted above, the ending of the story remains largely unchanged (with Shakespeare, of course, there's always the possibility of enjoying the performances, even if the song, so to speak, remains the same; unfortunately, that's not the case here – Douglas Booth and Hailee Stanfield are no Leo DiCaprio and Claire Danes, let alone Leonard Whiting and Olivia Hussey). I guess I can understand the need to mix things up a bit to avoid the inescapable feeling of déjà vu inherent to the world's most popular love story, but Carlei and Fellowes don’t even have the discipline to stick to this ill-advised addition, which only succeeds in making Prince Escalus of Verona (Stellan Skarsgård) look like an idiot, since his “tournament” not only can’t stop the Capulets and Montagues from brawling on the streets, but it shouldn’t even try to, considering that these public brawls are central to the action. Among the few things Carlei does get right is preserving the traditional Renaissance Verona setting; on the other hand, he makes Romeo an amateur sculptor for no reason other than making the most impressionable female spectators swoon at the sight of his bare, sweaty chest, which he likes to uncover when chiseling marble.
The South African multi-award winning film about a young South African boy from the ghetto named Tsotsi, meaning Gangster. Tsotsi, who left home as a child to get away from helpless parents, finds a baby in the back seat of a car that he has just stolen. He decides that it his responsibility to take care of the baby and in the process learns that maybe the gangster life isn’t the best way.
A depiction of the conflict between King Henry VIII of England and his Lord Chancellor, Sir Thomas More, who refuses to swear the Oath of Supremacy declaring Henry Supreme Head of the Church in England.
Oskar Matzerath is a very unusual boy. Refusing to leave the womb until promised a tin drum by his mother, Agnes, Oskar is reluctant to enter a world he sees as filled with hypocrisy and injustice, and vows on his third birthday to never grow up. Miraculously, he gets his wish. As the Nazis rise to power in Danzig, Oskar wills himself to remain a child, beating his tin drum incessantly and screaming in protest at the chaos surrounding him.
A young man falls for a young woman on his trip home; unbeknownst to him, her family has vowed to kill every member of his family.
Mia Hall, a talented young cellist, thought the most difficult decision she would ever have to make would be whether to pursue her musical dreams at prestigious Juilliard or follow her heart to be with the love of her life, Adam, a rock singer/guitarist. However, a car wreck changes everything in an instant, and now Mia's life hangs in the balance. Suspended between life and death, Mia faces a choice that will decide her future.
A domineering,reclusive, and ostentatiously pious widow in a small Spanish town keeps such close watch on her daughters that they are unable to have normal social lives. However, the eldest is allowed to become engaged to an unprincipled young man, primarily for the financial advantages it will bring the mother, Bernarda. Jealousy and envy ensues among the other daughters.
William Parrish, media tycoon and loving father, is about to celebrate his 65th birthday. One morning, he is contacted by the inevitable, by hallucination, as he thinks. Later, Death enters his home and his life, personified in human form as Joe Black. His intention was to take William with him, but accidentally, Joe and William's beautiful daughter Susan have already met. Joe begins to develop certain interest in life on Earth, as well as in Susan, who has no clue with whom she's flirting.
Two Los Angeles homicide detectives are dispatched to a northern town where the sun doesn't set to investigate the methodical murder of a local teen.
When an Italian man comes out of the closet, it affects both his life and his crazy family.
The defense and the prosecution have rested and the jury is filing into the jury room to decide if a young Spanish-American is guilty or innocent of murdering his father. What begins as an open and shut case soon becomes a mini-drama of each of the jurors' prejudices and preconceptions about the trial, the accused, and each other.
A history professor and his wife entertain a young couple who are new to the university's faculty. As the drinks flow, secrets come to light, and the middle-aged couple unload onto their guests the full force of the bitterness, dysfunction, and animosity that defines their marriage.