beckr1

A one-dimensional retelling of classic that is more interested in the social media aspect than in the greatness of Poe.

Let's take an early 19th century ORIGINAL story and put a "modern" take on it and turn it into a completely different direction because they are going to change Poe's ORIGINAL narrative.

Poe is spinning in his grave because the "screenwriters" are placating to.a modern ugliness that insinuates into our ORIGINAL literary masterpieces instead of insisting the perpetrators to write their own original stuff.

What was a brilliant.story of human behaviour, became an exercise of making a a certain people looking like a hoard of evil money grabbing mob who are clueless and need to be re-educated by people who are actually robbing us of our true literary heritage in the auspices of being "current".

This is truly painful to watch and to endure.

Everybody comes together in saying goodbye to a beloved tribal elder in this series finale. All are there for the great man that he was, and to pay their respects for the past and the future. All are there for the final time to remind us what we are about to lose. We are about to lose a show with heart and soul. A show that gave us friendship, the importance of community, love, redemption, the spirit world, loss, humor, and epic road trips. This series was so good that there were a couple of episodes that made me cry. Heck, we even had a final visit from the Spirit Warrior!! It was a beautiful TV show that I can hardly stand to be without.

This is a great entrepreneurial documentary. A deeply driven story of success. The problem that I have is that the great Glen Bell, who loved the Latino culture and promoted it has so-called "experts" who aren't Latino!!!! Can you imagine if the tables were turned and you have a white person expound upon the greatness of "soul food" (of which, as a German-American, most of the "soul food" mirrors my culture), there would be a screeching howl of disapproval across the social media universe. Once again, Latinos are totally squeezed out of the media landscape. Typical of all of what we see in TV show, movies, etc. Pathetic.

This show, especially this episode has so much heart. I am going to miss is so much. I'm going to let it settle in and I'm going to binge it next year, to relive it's beauty one more time. Superbly written and perfectly executed by some heavy hitters in the acting world. Cheese is going through an existential crisis and it takes 4 wise men to reintroduce him to the meaning of life. Beautiful. This director, Blackhorse Lowe has directed some of the best episodes of the series (except of course the previous episode to this one). With the comic stylings of. Gary Farmer we have the up and coming Zahn McClarnon and.the Oscar-winning Wes Studi delivering profound dialogue that once in a while has a fart and an epic piss in the woods. Great stuff!!

It's kind of sad to see. A once great show with a reboot that stinks like rancid old fish. Gone is the wit and the humor. Gone is the great dialog. Gone are the action sequences. Gone are interesting bad guys that are edgy and smart. This is so stodgy and boring. The love tryst is utterly ridiculous. It looks like something that comes out on CBS. This episode especially is useless to the series and isn't needed to propel the characters, plot and story arc along. Every scene just drops like a lead balloon with a huge thump and descends into a pit of boredom. And whatever happened to those Albanians?

This movie kind of gives you and inside look into the music world of that time. It also delves into the question of how much responsibility the German people should take for the Holocaust. Being that Furtwangler was on the political "inside" as far as Nazi inner workings, much more so than the general public, this movie asks some really good questions. As a classical musician, Furtwangler is held in high regard as among the greatest conductors of all time, however, the Harvey Keitel character really never lets up on making Furtwangler take some responsibility. I just love the reference to Herbert von Karajan, Furtwangler's successor, and how enraged Furtwangler gets when referencing Little K and saying that Karajan was an actual member of the Nazi party. Still, Keitel is really over the top and the dialogue, at times, is quite stupid.

It's amazing what they can pack into a 30 minute episode. A soulful and spiritual experience that brought me to tears. There are moments of poignancy that reflect upon our purpose in life and how important meaningful relationships are in our life's journey. So many moments,and not a moment wasted. It will take any viewer with a heart on a emotional roller-coaster. Other television shows should learn from this. This walks a fine line between laughter and tears and it is able to achieve it without being saccharine. This is one of the best episodes of the show full of great ones. What will happen next? Can't wait to see.

You know, this could have been a great thing. The first episode is very important, but the narrator descended into an anger vomit rage that was really a turn off for movie lovers. I have my Jaws story and it's a beautiful one, but when the viewer is made to feel guilty for the outcome of the result, that leaves the viewer with a sour taste in their mouths. Take a lesson from "The Movies That Made Us." That elevated film, gave me a history lesson about the making of that movie and made me feel good about reliving that film again. I made me want to rewatch it again. It inspired me. This series did the opposite to me.

This is essentially a ripoff of a recent sitcom about Teachers with some of the same jokes. With the current teacher shortage crisis, it doesn't depict the real issues that teachers face on a daily basis and makes light of the plight that many teachers face on a daily basis. The discipline issues are so watered down because of a lame comic "relief" at the expense of teachers. Also, the demographics (teachers and students) are completely out of whack with the real demographics in our public schools. My wife and I have a combined 60 years in education and we did not like the show at all.

To think Kubrick wrote the dialogue to the dreck. Think about it, Maltese Falcon, Sunset Boulevard, The Third Man, The Night of the Hunter and The Big Combo were all before this movie, yet this thing makes best Film Noir lists...it escapes me. The dialogue is awful, the cinematography is mediocre at best when you compare to the previous films. To think Kubrick had script doctors working on this!!! This is very tough to watch.

Sergio Leone is a genius at directing this movie and employed innovative usage of extreme close- ups, unusual camera angles, extended sequences and amazing action that changed how films were made after that. What keeps us coming back to this movie time and time again is the wry humor and the MUSIC!! Along with Jaws, The Good, the Bad and the Ugly elevates itself to the level of the greatest motion picture score of all time. It has become a cliché now when the opening whistle melody embodies the Western shootout in movies, TV, commercials, you name it. Keep in mind, before this, the western ideal for music was always the large orchestral scores with sweeping melodies ala Copland, Korngold, Moross, Elmer Bernstein, etc. Ennio Morricone used electric guitars, whistling and hyena howls!! Talk about innovative!! The Ecstasy of Gold sequence is a cinematic clinic on how to unite editing with music.

"Are you gonna pull those pistols or whistle Dixie?" To some of us, we quietly get together in closed-door sessions and hushed tones and truly believe that this is the greatest western of all time. It certainly is Clint Eastwood's favorite movie. However, for the sake of our classic western fans, I put it in third place. It has stood the test of time and true Western fanatics quote lines from this movie. "Not a hard man to track. Leaves dead men wherever he goes." Eastwood runs the full gamut of his emotions and turns in a great job of acting including spittin' chaw on everything that moves. Rottentomatoes.com has a perfect 100% score on the critics "Tomatometer" with Roger Ebert stating, " Eastwood is such a taciturn and action-oriented performer that it's easy to overlook the fact that he directs many of his movies -- and many of the best, most intelligent ones. Here, with the moody, gloomily beautiful photography of Bruce Surtees, he creates a magnificent Western feeling." It was also one of the few Western movies to receive critical and commercial success in the 70's at a time when the Western was thought to be dying as a major genre in Hollywood. Orson Welles while on Merv Griffin and Johnny Carson proclaimed Josey Wales the best Western ever made and admitted to seeing it over 4 times!!! Jerry Fielding was nominated for an Oscar in the best motion picture score category. In 1996, this film was placed in the United States Library of Congress and selected for preservation in their National Film Registry. "Dyin' ain't much of a livin', boy."

Monument Valley never looked better in VistaVision's filming process. Roger Ebert stated, "John Ford's ''The Searchers'' contains scenes of magnificence, and one of John Wayne's best performances. There are shots that are astonishingly beautiful." The only Western in history to be placed in the top 10 Sight & Sound Poll as among the greatest films of all time. AFI ranked The Searchers #12 in their all-time list and in 1989 the United States National Film Registry's first year of selecting films for preservation, chose The Searchers as one of the first 25 films to be deemed "culturally, historically or aesthetically significant." The Searchers has influenced films as diverse as Star Wars, Taxi Driver, Hardcore, Dances with Wolves, Saving Private Ryan, The Wind and the Lion and Apocalypse Now. David Lean studied The Searchers in preparation for Lawrence of Arabia and as a result movie history was made with that famous shot of the across-the-desert entrance of Sheriff Ali. Sergio Leone listed The Searchers as one of his favorite films. Much has been made of the film's racist overtones, but both sides were equally represented and based on historical fact. The basis of Ethan Edward's obsession is clearly stated when Debbie hides next to a tombstone that states the massacre of Ethan's mother at the beginning of the film. Not so obvious is John Ford's hidden subtext about Ethan's affair with his brother's wife and that Lucy or Debbie could possibly be Ethan's children. The thirst for vengeance makes total sense especially with the prospect that Debbie's been "living with a Buck." So many great scenes (the wedding scene, the letter reading scene) and lots of comic relief ("That'll be the day!"), keep the viewer's interest throughout. As far as I'm concerned, this is John Wayne's greatest acting triumph. When Ethan has to explain to Brad that Lucy was dead and he says, "What do you want me to do? Draw you a picture? Spell it out? Don't ever ask me! Long as you live, don't ever ask me more," is delivered with such harrowing conviction by Wayne, it gives me goose bumps. Then there is the scene when Ethan sees two white women who were raped by Indians and regressed to their childhood, Ethan says, "They aren't white. Not anymore." As Ethan exits we are given one of the greatest close-ups in movie history (seen over and over again in motion picture retrospectives). John Ford was sparse with camera movements and so when he employs camera movements, there is a heightened sense of drama. Ford's camera rapidly tracks in on Wayne's face to that close-up and reveals Ethan's total contempt—a chilling moment. Every shot is framed. I've never seen a movie that did this so effectively and with such beauty. It's like Frederic Remington painted each shot. Keep in mind, this is all before CGI. The cinematography is stunning. Then there is that incredible final shot, perfectly framed again with awesome cinematography and John Wayne's personal tribute to Harry Carey. I am in awe every time I watch this movie.

Critics and audiences made a huge deal over Unforgiven as being innovative and being a modern Western. Clint Eastwood did this in 1973 with High Plains Drifter. With set designs hearkening back to German Expressionism and filming techniques that employ Surrealism, this film was lost in the 70's cynical treatment of the Western as a genre and never got it's just dues. Those of us who love the Western will never pass up a chance to watch it in reruns. This was a Western that pulls no punches and all of the characters are despicable. Innovative, provocative, and uncompromising, High Plains Drifter was way ahead of its time for its filming technique, treatment of the anti-hero and the forerunner of many "revisionist" Westerns to come.

"Hangin' is any man's business that's around." Henry Fonda's father took him to the site of a lynching that occurred the previous morning and told young Henry that statement, and that line was used in the movie at Henry Fonda's insistence. It's hard to watch movies like this because it exposes the soul of every man. At a tight 75 minutes, the plot and dialogue move along at a good pace. Beautiful performances by Dana Andrews and Anthony Quinn along with the reaction shots of the mob after the final realization of their lynching leave an indelible mark on the watcher. It was nominated for an Oscar for Best Picture and in 1998 it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

This movie has it all…action, family values, gunfights, fistfights, great humor, great dialogue, incredible editing (saloon fight and final shootout), beautiful Teton locations, breathtaking cinematography, incredible cast and incredible acting. As a Librarian, I usually say that the book is better than the movie, however, the book comes nowhere near the character development or having the reader visualize the locale. George Stevens accomplishes this and more. This movie operates on so many levels that it takes repeated viewings to understand all of the subtleties (especially in the actor's choices). Just like The Searchers, the sexual tension between the main character and the female lead contributes to a multi-layered screenplay that would make Freud proud. There are so many great moments in this film (Stevens is a master of great movie moments): Dixie on the harmonica, Shane's first dinner and the reaction of Joey when Shane gets jumpy, the stare-down between Shane and Jack Wilson when they meet for the first time, the fistfight in the saloon, Stonewall's death scene in the horse crap and mud and the subsequent scene at the Reb's funeral and his dog at the gravesite (the crew wept while filming this scene) and of course the final scene. In 1993, Shane was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

It's long and the whorehouse scene really bogs down the narrative flow, but no Western's best list can be complete without this movie. Hitchcock has nothing on Peckinpah when it comes to editing a movie. The Academy made one of the biggest mistakes in history by not at least nominating this movie for best editing. Of course the moral ambiguity themes, the demystification of the West and the end of the era of the aging gunfighter are themes that have been explored before, but it's the controversial handling of violence, slow-motion bloodletting and the parallel with the Vietnam War that makes this a provocative Western that stands along with other great movies. Bloody Sam comes through in living color.

Relegated to B-movie status, the Western was Hollywood's stepchild and was never thought of as a serious movie. Stagecoach changed all of that and movie history was made. Moral ambiguity abounds as a cast of disparate characters are put together in claustrophobic environments and forced to deal with each other in the ultimate road trip movie (still used today: Rain Man, Little Miss Sunshine). Orson Welles watched Stagecoach over 40 times while filming Citizen Kane and incorporated scenes with ceilings (a practice rarely used). Akira Kurosawa was inspired so much by this movie he went on to make The Seven Samarai. Stop and think about this for a minute, Stagecoach was responsible for two of the greatest movies ever made!! Combine this with being John Ford's first talking film, his first time filming in Monument Valley and John Wayne's star- making role makes this not only an influential Western genre film but also one of the most influential films of all time.

Once again, another episode that is as good as television gets. Walt Longmire (Robert Taylor) is a modern day John Wayne. Lives by his word. There's a scene that solidifies this great season...it's when Walt is reading Jacob Nighthorse (the Great A. Martinez) his rights. As he tries to exit the door, Officer Mathias (the Reservation Sheriff play by Zahn McClarnon) and as Nighthorse opens the door, Mathias finishes the Miranda rights!!! Dialogue, editing, cinematography, acting, this show is on an epic finish. Superb.

Well, this is truly a superb episode. Peter Weller directed this episode and it explains a lot. This episode requires multiple viewings to catch every nuance. Watch how the other actors are swimming in a scene when Robert Taylor dominates. It's like watching an Acting 101 class while students are trying to remember their lines while doing a scene. The only time when someone comes close is that beautiful scene with Peter Weller on their final meeting. I'm not sure how they got through it without multiple breakdowns. I rewound certain scenes to re-watch. Yes...it's that good.

I can understand some of the negative reviews. Some of it I agree with. On shows like this, if it is in your wheelhouse, you buy in completely, and I'm there. Some of the supporting characters are over the top, but one thing is for sure, Robert Taylor is amazing. I wish there was someway to get a buzz going on the Internet about a Best Actor nomination for an Emmy.

It's a good procedural and plenty of dramatic elements. I'm never bored and it's quite different from previous attempts at Western cop dramas. I'm glad it's not another fish out of water story like Coogan's Bluff or McCloud. Robert Taylor's screen presence is the glue that holds it all together.

This was a tough movie to watch. I wanted to turn it off half way through but I stuck it out. After watching it, I had to take a shower and cleanse my soul by watching The Searchers.

The good parts of the movie were Matt Damon as LaBoeuf. Glen Campbell in the original was awful. And, Hailee Steinfeld was wonderful. Both Kim Darby and her did a great job but Hailee Steinfeld was excellent.

The look and feel of the original Henry Hathaway version and the Coen Bros. version is like comparing a beautiful Rembrandt to Etch-A-Sketch. The cinematography of Lucien Ballard is beautiful and he captures the majesty of the west with the choices in filming locations. The Coens don't get this. They just don't get it.

Elmer Bernstein's music score. 'Nuff said!!! The supporting cast in the original was amazing. Robert Duvall, Dennis Hopper, Strother Martin!!, Jeff Corey (very slimy), John Doucette.

And then there's Rooster Cogburn. Talk about one of the worst casting choices in the Coen film. Don't get me wrong, I really like Jeff Bridges, but his mumbling really got to me and he was not at all lovable. Everything about this performance is wrong. John Wayne on the other hand put in a performance of a lifetime. I'm choking up right now just thinking about his real emotions saving Mattie from the snake pit, the famous phrase (we all know it) when he puts the horse reins in his mouth (beautful scenery, beautiful cinematography, beautiful editing and beautiful acting) and of course the final scene. To see John Wayne do that scene brings tears to my eyes.

Just one of the best episodes of H5O. What really propels this one along is the exceptional music. I'm a professional musician and music freak for film and TV and I have got to tell you, this is great stuff. They just don't make music like this for TV anymore. The complex counter-melodies intertwined are beautiful and inspiring. Not to mention the lighting & cinematography. Music: 39:45--some of the best stuff I've ever heard. Inspiring!! The clarinet counter-melody at 40:36 is superb!! The muted trombone underlying all of this adds a sinister element. At 40:50, the trombone, pointillistic and somewhat polyphonic continues the emotional element to the "quest" and the trumpets at 41:02 are harrowing. 41:34 is my favorite part: with all of the counter melodies, the trumpets and trombone take over the rhythmic part from the percussion and continue the melodic line. Genius!!!! Lighting & Cinematography: too much to write about, but check out 42:29 to the end, especially 43:02 and 50:03.