WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people, and becomes the first man in American history to receive the Medal of Honor without firing a shot.
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
F. Murray Abraham,
An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis.
Aspiring actress serves lattes to movie stars in between auditions and jazz musician Sebastian scrapes by playing cocktail-party gigs in dingy bars. But as success mounts, they are faced with decisions that fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart. Written by
While Mia is writing her one woman play, the protagonist's name, Genevieve, is seen in the script. This is likely a reference to Catherine Deneuve's character in The Umbrellas of Cherbourg (1964), which was a great source of inspiration for this film. See more »
During the freeway scene, the red frame that is part of the crane the Steadicam operator stands on for the final shot, is visible between the two trucks (4:07). See more »
I want to let you know you're looking at a new man. A man who's happy to be here.
Right, and you'll play the set list.
Gladly... Although, you know, I thought in this town it worked on a sort of "one for you, one for me" basis type system. How about two for you, one for me?
How about all for you and none for me?
That's perfect, yes.
Okay, a mutual decision then.
Made by me.
Right, and I sign off on it, so...
[...] See more »
The Summit Entertainment logo has an old-time variant where it looks like a matte painting of a mountain in a box and the word "Summit" above it. See more »
An unashamedly romantic musical, infused with intense charisma and devastating emotion
I was interested in seeing this film because not only am I a sucker for
a good musical, but I'll admit to being a big fan of Ryan Gosling and I
was intrigued to see what the director of Whiplash would do with a
musical picture to make it fresh and unique. So when I had the chance
to see a late-planned viewing at the London Film Festival, I jumped at
the chance (FYI, Ryan Gosling came to the screening as a surprise post-
film Q&A attendee despite not appearing at the Headline Gala the night
before so I was chuffed!)
The premise of the story is that Stone is a young actress who has moved
to LA to wait tables while auditioning to try and 'make it', while
Gosling is a jazz purist ("Anyone who doesn't like jazz just doesn't
have the right...context", he insists) who plays the piano in bars to
make a living and dreams of opening his own Jazz bar. Or to put it
succinctly - "Two young artists meet and fall in love while chasing
their dreams". The musical flows thematically from first love to
heartbreak and every other emotion between, with great music
The most impressive thing about the film, for me, is just how daringly
it dances between the old-fashioned "Singing' In The Rain" style of
musical, and a bolder, modern style. The song numbers are great (the
opening number received a round of applause in my viewing) and are an
undoubted homage to classic musicals - a thoughtful mixture of old
school dance numbers you'd expect from a musical in the 50s, and
emotionally-wrenching ballads that hit you where it hurts; there is one
particular sequence toward the end of the film which is a real
Stylistically the film skirts this same line; the film again looks and
acts like a classic musical but frequently we see low-key reminders
that this is modern day; actresses using their iPhones, a video being
seen on Youtube, etc to remind us that this is set in the present day.
If we didn't have these reminders, the visuals would almost have you
thinking that this is the 1950s. The cinematography is beautiful and
overall the film is visually stunning. There is also no doubt that it
is wonderfully directed, with the same masterful control of pace and
tension that we come to expect from Damien Chazelle thanks to Whiplash.
Gosling in particular is absolutely terrific, with a typically sardonic
wit throughout. At the start of the film when his sister says she's
worried about him as life seems to have him on the ropes, he responds
"I wanna be on the ropes. I'm just letting life think it has me and
then before you know it - BAM. It's a classic rope-a-dope". His
delivery of these sorts of lines can't be matched, and it's easy to see
why the producers said in the post-film Q&A that he was the person they
wanted for the role in their wildest dreams. It's a role made for him
with tons more of the above kind of lines. But more than that, Gosling
captures a real emotional intensity at the film's emotional breaking
points, more specifically in the sequence towards the end of the film
that I mentioned earlier. He manages to convey such convincing emotion
without so much as a word.
I'd feel bad if I didn't also praise Emma Stone, who has probably never
been better. She has wonderful emotional range, from the ecstatic highs
of love to the tearful, painful lows.
In terms of the Gosling/Stone films, this is by far the best. Their
undoubted chemistry is given the full spotlight in this film with
freedom to explore said chemistry without restriction.
The film is ultimately everything it had the potential to be - an
unashamedly romantic musical, infused not only with great song and
dance numbers but with intense emotion and charisma from Gosling/Stone,
wonderful visuals and a unique pacing and tension from Chazelle. Oh,
and it's hilarious throughout too. A genuine achievement - must be one
of the best films I've seen in a long while. I'm annoyed I'll have to
wait so long to see it again, frankly.
Will surely win multiple Oscars and other awards.
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