Les Miserables has been one of the most epic musical plays ever
created and has won millions of fans over. Director Tom Hooper brings the tale
to the big screen with nothing less than some of the finest actors in the movie
industry. Using a unique sound and feel to the musical, this remake of Victor
Hugo’s classical tale accentuates the vocals unlike so many others. Loaded with
an incredible cast of actors, this version of Les Miserables will move
you in ways you never thought a movie could.
1. Vocals - Unlike many other musicals, the singing for this incredible
movie is done live. Meaning it’s not from a track that the actors essentially
lip-sync. This creates a greater impact to those watching the movie as the cast
seamlessly move into a song. The result is a movie that holds the viewers
2. Jean Valjean - Hugh Jackman’s portrayal of Jean Valjean demonstrates
his range of acting as he makes the part his own. His impressive command of the
lyrics during his singing raises the bar for Mr. Jackman versus roles he has
played in the past. Les Miserables could easily become one of the most
memorable moments of his career for those who are fans of his work.
3. Javert - It’s quite common to see Russell Crowe in the role of an
authoritative figure whether he is a good guy or the vendetta carrying officer
in Les Miserables. Mr. Crowe’s vocals in this entrancing movie are
impressive to say the least. Completely different from any performance this fine
actor has been involved in, few could play the part of Javert as Russell Crowe
4. Fantine – Many will remember Anne Hathaway from her "Princes Diaries"
movies as well as a slew of other richly emotional projects. Her portrayal of
Fantine makes for an impressive performance as her range of vocals can win any
heart over. She has a great deal of talent and is an excellent supporting
Since 1913, Les Miserables has been made into movies, television
mini-series, and has been performed at the theater for nearly a century. It is
an epic tale that is sure to put anyone through an emotional roller coaster. Tom
Hooper’s vision of this classic tale brings romance, intrigue, and action.
This epic tale is set prior to the June Rebellion which takes place in Paris in
1832 involving student societies who launched an anti-monarchist stand in
France. It is a story of hard times throughout the lives of these poor souls
culminating to the rebellion. Fans of the original musical will be awed as
characters are brought to life in an amazing display of deeply emotional
performances provided by the entire cast.
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As far as sequels go Iron Man 2 “is a cut above most”, says Jim Vejvoda at IGN. It introduces a lot of new characters in the set up for The Avengers 2012, but it deals with it well. Read on but be aware there are spoiler alerts.
Contrary to what AC/DC says – the band of choice in the Iron Man films – hell is a bad place to be, especially if you’re Tony Stark. In many ways, Iron Man 2 is an argument for a superhero maintaining his/her secret identity. Tony is definitely paying the piper for his glib declaration at the end of the first movie that he is Iron Man. Now, six months later, the U.S. government wants his tech, as does Stark’s rival Justin Hammer (Sam Rockwell, playing him as Tony’s villainous doppelganger), who has succeeded Tony as the U.S. military’s top weapons manufacturer. Tony is more arrogant than ever, and his ego — to swipe a line from Top Gun — is writing checks that his body can’t cash.
Tony brazenly shows up both Hammer and a U.S. Senator (Garry Shandling) during a televised hearing. The government doesn’t like the idea of a private citizen possessing such potentially destructive technology and wants in on how to make it. What if their enemies developed such tech? Tony dismisses their fears, saying that any such advances are at least 20 years away. But what he doesn’t know is that at that moment an old enemy of his family’s is hard at work in Russia on his own version of Stark Industries’ arc technology.
Click HERE to read the rest of the indepth two page review (Spoiler alerts).
Sex and the City: The Movie (Comedy) – Cast: Sarah Jessica Parker, Kim Cattrall, Cynthia Nixon, Kristin Davis, Chris Noth, Jennifer Hudson, Jason Lewis, Evan Handler, Willie Garson, David Eigenberg, Mario Cantone, Michael Bloomberg; Directed by: Michael Patrick King
Sophia Coppola’s Marie Antoinette is simply brilliant. Read on:
Marie Antoinette is a film that some people will enjoy and others will not. But virtually none of them will have any idea how to explain or qualify why. Part of this is due to its strange clash of classic and modern ideas; director Sofia Coppola transforms what would otherwise be described as a costume drama into a subtle dissertation on the vagaries of our too-much-too-soon culture. But at the same time, Coppola’s general approach to moviemaking seems to produce this kind of confusion, or maybe just the stimulating sense that things aren’t quite so easily categorized.
With Marie Antoinette, Coppola proves that she is still one of the most talented, adventurous and exciting filmmakers of the modern era. Like an exhilarating union between Terrence Malick and Baz Luhrmann, she combines the immediacy of contemporary cinema with the studied professionalism and patience of previous decades, creating a masterpiece that is both faithful to its time period and vividly rendered in dimensions that modern audiences will relate to.
Rather than examining the French queen’s life in a strictly historical context, Coppola looks at the trajectory of her experiences in much the same way she did Charlotte’s in Lost In Translation — namely, by exploring the motivations and emotional underpinnings that produce Marie Antoinette’s behavior. Kirsten Dunst (Elizabethtown) portrays her as exactly what she was — a young girl caught up in events she could no better understand than control or change — and gives the film a heroine whose problems feel identifiable. While so many period movies dryly chronicle the broad strokes of so-called “universal” issues, Dunst and Coppola’s collaboration blows the dust off of the entire “period piece” ethos, and turns the historical figure’s travails into something sharp and evocative.
For film fans, Kubrick’s Barry Lyndon and Luchino Visconti’s The Leopard will immediately come to mind as visual and overall aesthetic references, but the film shares much more in common with the works of the aforementioned Malick, whose most recent work The New World similarly purported to document a bygone era via atmosphere and emotion rather than historical accuracy. Marie Antoinette is an impressionist’s view of what life must have been like for the teen queen: conjuring the texture of her world and the minutiae of her absurdly regimented daily life, Coppola finds the human truth in Marie Antoinette’s boredom, her loneliness, and eventually, her decadent self-destruction.
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Andy Serkis, David Bowie and Hugh Jackman in the The Prestige
Director, Christopher Nolan scores big with The Prestige. Read on:
Cinematic sleight-of-hand is a tough thing to pull off these days. No matter how secretive or sophisticated a filmmaker’s approach might be, there are always folks savvy (not to mention cynical) enough to figure out what’s happening long before any of their fellow filmgoers. And that is what makes The Prestige the ultimate movie magic trick.
As the film’s dialogue suggests, the true purpose of magic is not to trick or deceive, but rather to convince an audience that “something” can appear to be “something else” entirely. Written and directed by Christopher Nolan, the man responsible for the misdirection-filled Memento, this idea is elevated to new artistic heights — even as it temporarily appears to be just another tool in a master storyteller’s arsenal.
The film stars Christian Bale (Batman Begins) as Alfred Borden, an aspiring illusionist with tricks to spare, but hardly enough panache to sustain an audience’s attention. Meanwhile, his colleague, Robert Angier (Hugh Jackman), has plenty of stage presence, but not enough chops to make it as a legitimate magician. The two quickly become embroiled in a battle of wills for domination of London’s stages. But when their competition results in the accidental death of a loved one, the longtime rivalry escalates and threatens to destroy both men — not only professionally, but personally.
There’s no good reason to reveal any more about the film, unless you are one of those savvy (not to mention cynical) folks who prefers to have all of a film’s secrets spoiled before stepping into a theater. That said, The Prestige adds up to far more than the sum of its parts. This is largely due to Nolan’s script, co-written by his brother Jonathan, which functions simultaneously as an expose into antiquated magic tricks and a testament to the fact that almost all of them still work. But the careful construction of characters is what keeps the film tethered to its emotional center.
Bale, a masterful actor capable of incredible subtlety and power, portrays Alfred as the ultimate purist — an artist who barely needs an audience to feed his work except as a sort of last-ditch commercial crutch. Jackman, on the other hand, exploits his own theatrical experience to play a performer who courts attention — indeed, he craves it — and whose determination to learn Alfred’s secrets is connected to personal desperation as much as professional envy.
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