ellisonhorne

Think of it as a rare holiday gift to you; I hope you lovers…and lovers yet to be, take time away to see this authentically heartwarming tribute to all we know about our solitary experience as a human being…ever searching for the fullness and richness love brings to life. It is a journey of deep self-reflection, of the sobering clarity that comes from confronting the lingering darkness of past regrets and failings, all the while an inner voice from our soul, an inward calling beckons us to seek acceptance and forgiveness in the loving heart of another.

With "her", Spike Jonze has given us a pitch-perfect treasure, a rare film indeed. As a member of the Screen Actors Guild, it is easily one of the best films I've seen in years!

Just saw "Inside Llewyn Davis"...the Coen brothers' latest work. For me, this was barely an "okay movie". It's nothing I would ever urge anyone to see. It's empty amusement with a flimsy script. What may have seemed like a good idea in concept turns out to be merely ho-hum upon its execution. With all the music throughout, it's a huge disappointment to hear only mediocre technical recordings of the songs (And the key singers are marginal—especially Justin Timberlake.) Even as a made-for-TV effort it's tawdry. Sure, there are a few expected tricks of the cinematic trade here and there. But over all, this movie gives lip service to the period and the music culture of the time, and rides mainly on the reputation of the Coen brothers--which is why I wanted to see it. It would have been a total waste of time if it were not but to warn you.

It's an amazing work of excellent production values from cinematography, script(Academy Award worthy), music and especially the acting (Frances McDormand, Academy Award worthy). It's a new genre of storytelling that some may find hard to define. I believe this film is ahead of its time and will enjoy multiple viewings. This is a slow-paced story that requires a personal investment while it gives its audience time to consider a host of situations only to be surprised when it defies conventional outcomes. This is an important and entertaining film to experience. It's most certainly worth putting high on your movie-going list.

This slow-burn of a contemporary story appears simple upon viewing, yet is very rewarding when considering the breadth of complexities it features which define today's popular culture. ~ e

Last night we saw a screening of Steven Spielberg's film LINCOLN. I do not plan to see this film again; however I would not discourage anyone from seeing it. As I see it, this film is more of a tribute to Doris Kearns Goodwin's book, "Team of Rivals: The Political Genius of Abraham Lincoln", rather than the life and times of Abraham Lincoln.

In LINCOLN, Spielberg, with his retinue of John Williams (film score), Janusz Kaminski (cinematography) and David Crank (art direction), gives us an alchemy of film making that simply weakens as we're made to plow through the awkwardness of Tony Kushner's wordy screenplay. Too often I had overlooked the challenges several key actors had in delivering their lines—text written more for reading rather than oral delivery. Odd that Kushner didn't do a better job of translating Goodwin's book, often criticized for being heavily researched yet depth-less in its treatment of that period.

There are numerous artistic missteps that, for me, kept bringing the film down to tawdry and even boring at times. And certainly having John Williams compose a piano solo in the middle of a scene symbolizing the end of the Civil War was utterly distracting, where using a chorus softly humming could have made the same scene compelling and powerful. (He does use a chorus humming in another scene, again a misstep.)

As to the acting, well, other than having to chew with overly huge mouthfuls of dialogue, I enjoyed the range of thespian theatrics. Daniel Day-Lewis as Lincoln gives a good yet measured performance, hampered at times by the "Jesus" lighting Spielberg insists is necessary. When you see the film you'll know what I mean. Actually, several actors get that treatment. To me, it's almost laughable.

Sally Field as Mary Lincoln is good too, but it's the same wonderful Sally Field "acting" we see in so many of her films. Tommy Jones, as a powerful Pennsylvania Republican leader, gives another great Tommy Lee Jones performance, and for many, it will be a highlight of the film.

However, for me, it's Jared Harris (Mad Men) who really shines as Ulysses S. Grant. It took me a while to see him through the make-up—which is also a star of the film—but I never got over how remarkably he brought Grant to life, and as close as the person sitting next to you in the theater. Indeed, an award-worthy performance!

Having said all this, among my greatest concerns about Spielberg's LINCOLN are that it overly emphasizes the passing of the 13th Amendment to the U.S. Constitution…to free the slaves. Yet in spite of itself, in a rather disturbing way, the film promotes the idea that slavery ended in the 19th Century. And because of Douglas Blackmon's Pulitzer Prize book,"Slavery by Another Name", we now know that slavery in the U.S. continued far into the 20th Century. In fact, Blackmon details it through World War II. For me, the film loses power with its short shrift of slavery and its narrow, uninspired focus on Washington politics as usual.

Finally, the most glaring flaw in my view is that Spielberg, in his seemingly obsessive zeal to further sanitize the Lincoln legend, glosses over the fact that Lincoln, aside from his reported hatred of slavery, was definitely not an abolitionist. In truth, he felt that freed Blacks should be sent back to Africa, or Central America. And he was clear that he did not want to interfere with slavery in places where it already existed.

This quote is damning to the Spielberg whitewash of Lincoln: "I will say, then, that I am not, nor ever have been, in favor of bringing about in any way the social and political equality of the white and black races--that I am not, nor ever have been, in favor of making voters or jurors of Negroes, nor of qualifying them to hold office, nor to intermarry with white people; and I will say in addition to this, that there is a physical difference between the white and black races which I believe will forever forbid the two races living together on terms of social and political equality. And inasmuch as they cannot so live, while they do remain together there must be the position of superior and inferior, and I, as much as any other man, am in favor of having the superior position assigned to the white race." - Abraham Lincoln, from a speech he delivered in 1858 in Charleston, Ill.

In LINCOLN, it's as if Spielberg has resurrected the old Selznick touch, but in this case it's in such a heavy-handed way, we nearly lose our passion to care. It's certainly not worthy of seeing again by this African American reviewer. Nevertheless, see it for yourself and report back. We'd like to know what you think!

What have we become, if not a nation of lost beings? We seem to be starving from the ravages of unmet needs and relentless fear-- festering deeply a growing malnutrition of the soul. Indeed, was there ever a time when human beings truly lived to the full measure of their capacity for good?

Every once in a while a story is so beautifully constructed that we find a penetrating transformation has overtaken us, defying explanation, yet is as instinctively recognizable as joy, or laughter, or even deep sorrow. Such is the work of Writer/Director Frank Darabont in his powerful motion picture tale, "The Shawshank Redemption", which is based on a most unassuming parable by Stephen King.

Only through redemption will our nation find its way; and it is only by the people, those individuals who refuse to compromise their capacity to create beauty--or better, recognize it--who will guide us to our true potential as a society, or more fundamentally, as a planetary species.

Indeed, beyond redemption is a lighted pathway to our intended destiny, where fear transforms into compassion and hope becomes the new reality, ever nourishing our spirit.

Remember how you felt after watching this film? Though it may be true that we have never met, in many ways I know who you are. And with that insight wells up a comfort so luminous it lights this pathway on which, through all the mysteriousness of the vast universe, we both travel ever onward and upward.

Ellison Horne

One of the most deeply moving scenes to be found in any film happens in Peter Weir's epic, "The Year of Living Dangerously". It takes place twice when the lead character, Billy Kwan, is alone and lonely in his little hut, amongst the haunting images of a photographic tapestry reflecting his personal history—events and faces of those throughout his past. Rather than postpone his melancholy, Billy plays a recording of Classical music so sweet and longing, sung by Kiri Te Kanawa, as the nameless faces gaze helplessly outward. The use of this music is most certainly a key element in the storyline.

Unfortunately, Mr. Weir has never corrected the end credits of his film, falsely assigning "September" as the movement used from Richard Strauss' "Four Last Songs" when in reality it is,"Beim Schlafengehen" ("Going to Sleep") that is heard in the film during these poignant scenes of Billy in his solitude.

Still, one of my favorite films of all time.

Sorry, but this film was weak, flimsy and in the wrong hands with an immature director and a poorly written, misguided script. When one sees the "how the film was made" documentary, one can see all the "what not to do" things that abound in this project. Poor casting and a shallow music score made it even worse.

Now, if I were asked to do this, I would start where the other film leaves off. It should be a sequel where Klaatu leaves us with a warning in 1951 and returns in 2009 with a conviction. Some of the plot lines would include scenes where the extremely wealthy make plans to leave the planet by means of space projects only they could afford to develop, while the rest of us have to come to terms with our true power--our poorly developed inner nature where we must discover our ability to love and care about life beyond all previous capacity: a kind of humane revelation happens. Also, we would get to witness the intergalactic counsel and see some of what life is like in other regions of the universe where peace has been achieved, and where it has not.

Indeed, a sequel would be a much stronger way to do this film. It gives us a chance to see what has been done between nations, cultures, and the environment over the past nearly 60 years. What a fantastic opportunity to look at what humans have been doing during this period. And now we are discovering hundreds of planets in the universe, there is so much that could have been brought to the story that would give us reasons to deeply contemplate our situation, and our ability to discover a way for humanity to come together for the welfare of all life.

By the way, the spaceship was a waste of time as well--looks soooooo CG! The bright spot is this movie is bad enough there's hope that one day someone will come forward with a beautiful, compelling and inspiring sequel--not a remake.

I wish I could help make it.

Without question, this is one of the very best action suspense thrillers ever with top flight performances by everyone! As someone else has stated here: "This is one of the greatest Action Thrillers of all time...it keeps you at the edge of your seat, no matter how many times you see it." I agree, I've seen it several times this weekend as it is being shown on Encore HD, and it gets me hooked every time.

Skilled Director Suart Baird is also one of the best editors of action films in Hollywood. The sights and sounds are mind-numbingly realistic. When Russell is forced to land the plane, you live every second with heart-stopping tension.

I've just seen "Babe: Pig in the City", for the first time. A good enough movie entertainment, but not worth owning--or hardly even seeing again.

What keeps it, I feel, from being a much better film is the loss of Chris Noonan heading the production team as director and co-writer. Under Noonan's hand, "Babe" was an outstanding film, a true classic, and one I'm proud to own and revisit from time to time.

With "Babe: Pig in the City" George Miller lacks the capacity to pull all the wonderful, creative elements in the film together into one arch of perfection, which all classics share. Too bad Miller didn't bring Noonan back to do this continuation of "Babe".

Alas, "Babe: Pig in the City" with all its artistic potential, is so close, but sadly, not close enough to compare with its wonderful and moving predecessor.

Watching The Wiz on cable, I'm reminded how, by the over-powering influence of one person, such a wondrous diamond was transformed into a mere gum-wrapper.

Diana Ross proves to be the wickedest witch in The Wiz by forcing her way into the lead role in what could have been a masterful classic of the ages, where Stephanie Mills could have brought to the silver screen the magical and exuberant star-power she achieved in her Broadway debut.

Without question, Ms. Ross's uncontrollable ego so contaminated the entire production which, aside from the outstanding art direction, choreography, and music, went far beyond the ability of any director to regain the life-giving power of such a legionary story Stephanie Mills could have inspired.

Ironically, it was fate that stepped in and rescued The Wizard of Oz from Shirley Temple, handing the key role to Judy Garland. (Don't get me wrong, we all loved dear Shirley, just not in this.). Whereas, Ms. Ross' intervention chopped fate to shreds, poured gasoline on the pile, and burned it by raging fire into oblivion. Alas, what might have been...

In general, the acting by all in Breaking Bad is fantastic. However, the quality and range of acting by Aaron Paul is truly amazing. Bryan Cranston is getting a lot of attention, which is expected from a veteran actor with his experience. However, it's Aaron Paul's outstanding performance that demonstrates the remarkable capacity, among a new generation of actors, to reveal a world of extreme complexities and harsh realities that we find in today's America.

Aaron Paul's ability to bring to life these contemporary elements is the test of any great actor, at any age. Indeed, Breaking Bad brings a valuable contribution to the realm of quality Television Theater, and Aaron Paul's work here is among the finest to come forward in a long while. Bravo, Mr. Paul!

UPDATE: Great news! Aaron Paul has just won his first Emmy for Best Supporting Actor in a Drama Series, at the Annual Primetime Emmy Awards 2010! Congratulations Mr. Paul! ~ e

Kelly MacDonald was outstanding and to her I give 10 starts! The way she was able to embody the personality of her southern character was mesmerizing. In my book, she gets the Oscar for Best Female in a Supporting Role.

As for the film itself, well, not very interesting. However, I would have enjoyed the story if they had taken more liberties based on the book. For example I would have enjoyed it more if the story had more to do with Ed Tom Bell, played wonderfully by Tommy Lee Jones. As it was, the film was too much a paint-by-numbers effort. Also, it is sad that a story like this can be so popular given the state of our culture these days.

This is unquestionably one of the finest "little" films ever made. From hilarity to pathos, it's a rich tapestry of life's lessons that enwraps and comforts us with a wink and a friendly smile. It reminds me of the song that goes, "I never met a stranger, no one is strange to me. I see myself in everyone so I have company". It is truly a tenderhearted tribute to love in all its facets. It's wonderful and moving interplay between observation and insight resonates a deep chord of truth in the human experience.

I've seen this film many times, and hardly ever pass up the opportunity to see it whenever it's shown. There's so much to experience in its seeming-simplicity, and with every viewing come new levels of appreciation.

Each day when I ride the bus to and from work, I often wonder about the people around me, their lives, their cares and challenges, their joys and sorrows. And for the greater part, I believe most of us are traveling through life hoping to matter, to be accepted for all our strengths and weaknesses, forgiven for our faults and our mistakes, and ultimately, to be loved—loved to the fullest capacity of human experience.

Indeed, Broadway Danny Rose gives us a chance to ponder these things—a little giant among the eons of storytelling that reflects, reveals, and enriches the human soul.

10 out of 10! The world of film-making can be as complex as the stars, just ask any good producer/director. However as a viewer, film conveys the power of storytelling nothing else can match. And when movies are as good as the "Rings" films are, the power of story becomes timeless--past, present, future, are all embodied, the life-force is revealed, the human soul is enriched and evolves. Such are the Rings'.

I hope everyone has a chance to experience these highest examples of what film has to offer the human experience. Peter Jackson is a master, bringing all the elements together as only a master can: story, sets, editing, photography, actors, music, lighting, costumes, and most of all, directing.

Wow! What a wonderful film! This is the kind of adventure that takes you to another world, with all the best the film industry has to offer in every aspect. Aside from the great acting, directing, editing, and locations, the photography is most certainly one of the stars of this captivating realm. The magical music score of Hugo Friedhofer is haunting and lingers in the mind long after the film. In fact, I bought the film soundtrack years ago and still love it today! I found a source on the Internet to order a DVD of this classic adventure and urge film lovers take a ride.

Enjoy!

This is truly a great film portrait of an American family. It may not be your family, but it is indeed a real uppity/oddball family-with all its faults, joys and sorrows.

If you gave this film a poor rating, I urge you to try viewing it once again. As a film, it is a wonder--the script, direction, photography, music, set-design, and the ensemble cast is among the very best. Each role is pitch-perfect!

The holidays are such a complex time for many of us. This film pays a most unusual respect to the realities we face in the age of today, within or without the family unit.

I guess I love this film most because it captures truth in a way that touches me deeply. It is about a few of the life encounters which all humans experience one way or another, and reveals our most private moments with unusual insight, humor and compassion.

And, as with any great film, it has much to reveal with each viewing.

Enjoy!

For anyone looking for some of the best in television writing and production, this is without question one of the very finest of the Twilight Zone series, or any other series! This was produced when Twilight Zone was in its best period with one of the most insightful and moving scripts by writer George Clayton Johnson.

Watching actor Ernest Truex is pure joy. What a performance! This is one of the DVDs I enjoy watching from time to time. And each time I find new levels of appreciation in Truex's portrayal of a throwaway man who evokes the essence of vitality in life through imagination and creativity. At 73 years old Truex was in top form. In fact Twilight Zone featured many episodes with actors in leading roles who were over 65.

This is truly one of those rare occasions when story, acting, photography, music and sound design combine in making real "magic"—the very theme of this wonderful episode.

With the Baby Boomers emerging into retirement in ever growing numbers, I can easily see "Kick the Can" becoming a popular classic.

This is a true masterpiece of storytelling, one that has lasted me over 45 years when I saw it as a child. I hope to see it again as I have not seen it since then but have fond memories of its heartwarming power. In many ways I believe it has influenced my life's work in deep and meaningful ways. I'm a video producer who has devoted the past 25 years to creating videos the encourage people and uplift them. I wish we could have a network devoted to these treasures for new generations to be touched by. If anyone knows of other classic cartoons like this one I would like to know so that we could start a classic cartoon club and have home screenings to ensure that new generations get to see the artistry and storytelling from the past.