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Editor's rating: 
 4.3
 
Wednesday, 01 August 2007 |  Written by Bill Warren  | 
Hulk That review and this were written by the same person. The review of the film stands, though enough time has elapsed that it’s safe to specify what was disappointing; doing so in 2003 would have been too many spoilers. Clearly, Ang Lee and his writers wanted to introduce mature elements to the comic book idea of a man who turns into a invulnerable, very powerful green giant. The route they took, however, wasn’t all it could have been. Introducing Bruce Banner’s father, at least as presented here, wasn’t wise; though Nick Nolte (and Paul Kersey in the early scenes) are both very good as David Banner, the connections between him and his research and his adult son and HIS research seem forced and contrived. Making the climax a battle between Banner in Hulk form and his father who has, improbably, become a well-known Marvel super-villain, the Absorbing Man (though that term isn’t ...
Editor's rating: 
 3.8
 
Wednesday, 01 August 2007 |  Written by Bill Warren  | 
Rio Bravo In 1959, Howard Hawks hadn’t made a movie in four years; his last film, “Land of the Pharaohs,” was a critical misfire and died at the boxoffice. He went to Europe to nurse his wounds. At the same time, John Wayne had a run of mostly mediocre movies—“Blood Alley,” “The Conqueror,” “Legend of the Lost” (though “The Searchers” was in there, too)—and was looking for something to revive his stardom. Hawks and Wayne had worked well on “Red River”—Hawks’ first Western—so in a sense, Hawks ran for cover, bringing Wayne with him. Jules Furthman wrote (or cowrote) the scripts for some of Hawks’ best movies—“Come and Get It” (1936), “Only Angels Have Wings” (1939), “To Have and Have Not” (1944) and “The Big Sleep (1946). Leigh Brackett had also worked on “The Big Sleep,” and later worked for Hawks on “Hatari,” (1962), “Man’s Favorite Sport?” (1964), “El Dorado” (1966) and “Rio Lobo” (1970). ...
Editor's rating: 
 3.8
 
Wednesday, 01 August 2007 |  Written by Darren Gross  | 
Mutiny on the Bounty Based on the true story and the trilogy of novels by Charles Nordhoff and James Norman Hall, “Mutiny on the Bounty” tells the tale of oppressive, tyrannical Captain Bligh (Trevor Howard) and his troubled journey to Tahiti in 1787 to transport bread fruit trees for the British Empire. The elitist and egotistical Bligh makes several blunders on the trip, causing the deaths of crew members and raising the ire of Fletcher Christian (Marlon Brando). Christian, the first mate, is a bit of a dandy, but his senses of justice and humanity are repeatedly tested and eventually brought to the breaking point. Brando delivers a good (but not great) performance as Christian, and there’s a sense in several early sequences that he’s having a bit of fun with the effete role (the scene he steals in a silver nightgown and smoking a pipe, for example), and he’s quite playful in the Tahiti scenes. The ...
Editor's rating: 
 3.8
 
Wednesday, 01 August 2007 |  Written by Bill Warren  | 
Letters From Iwo Jima “Letters from Iwo Jima” is, in one regard, unusual: it’s an American film about a war in which the U.S. was involved, but told from the “enemy” point of view. This has been done occasionally in the past, as with the classic “All Quiet on the Western Front.” But this time, the movie is entirely in the language of the other side, in this case, Japanese. This is not unique—there have been American movies in Spanish, Yiddish, even the created language Esperanto—but this time, the film was made by a huge American studio, Warner Bros., and was directed by a prominent American actor/director, Clint Eastwood (who directed only). He was directing “Flags of Our Fathers,” which deals in large part with the battle for the small but strategically important island of Iwo Jima from the American point of view. But as he was preparing it, he began to wonder about the other side. ...
Editor's rating: 
 3.9
 
Wednesday, 01 August 2007 |  Written by Darren Gross  | 
Fountain, The Most cultures have an immortality/fountain of youth myth. The avoidance of death is one of the (if not the) most primal human desires. In “The Fountain” writer/director Darren Aronofsky delves into the idea of this myth, telling a story that’s epic in scope but intimate and simple. “The Fountain” intercuts between three stories taking place in three different timelines: in the first, conquistador Tomas (Hugh Jackman), deep in the South American jungle passionately quests after the fountain of youth on a mission for his queen, Isabel (Rachel Weisz) who feels its discovery will help save her reign from the Inquisition. In modern times, doctor Tom Creo (also Jackman) pushes himself and his colleagues to the limit in an attempt to find a cure for the brain tumor that is killing his wife, Izzy (also Weisz). Sometime far in the future, a bald monklike man named Tommy (Jackman again) journeys through the cosmos in ...
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