Daniel Day-Lewis stars as Tomas, the happily irresponsible Czech lover of Milan Kundera's novel, which is set in Prague just before and during the Soviet invasion in 1968. Lena Olin and Juliette Binoche are the two vastly different women who occupy his attention and to some extent represent different sides of his values and personality. In any case, the character's decision to flee Russian tanks with one of them--and then return--has profound consequences on his life. Directed by Philip Kaufman, this rich, erotic, fascinating character study with allegorical overtones is a touchstone for many filmgoers. Several key sequences--such as Olin wearing a bowler hat and writhing most attractively--linger in the memory, while Kaufman's assured sense of the story inspires superb performances all around. --Tom Keogh
Set in the glamour of 1950's post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock's life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. With his latest film, Paul Thomas Anderson paints an illuminating portrait both of an artist on a creative journey, and the women who keep his world running. Phantom Thread is Paul Thomas Anderson's eighth movie, and his second collaboration with Daniel Day-Lewis. Bonus Features Camera Tests: with Commentary by Writer/Director/Producer Paul Thomas Anderson For the Hungry Boy House of Woodcock Fashion Show
As with the great John Ford (Young Mr. Lincoln) before him, it would be out of character for Steven Spielberg to construct a conventional, cradle-to-grave portrait of a historical figure. In drawing from Doris Kearns Goodwin's Team of Rivals, the director instead depicts a career-defining moment in the career of Abraham Lincoln (an uncharacteristically restrained Daniel Day-Lewis). With the Civil War raging, and the death toll rising, the president focuses his energies on passage of the 13th Amendment. Even those sympathetic to the cause question his timing, but Lincoln doesn't see the two issues as separate, and the situation turns personal when his son, Robert (Joseph Gordon-Levitt), chooses to enlist rather than to study law. While still mourning the loss of one son, Mary (Sally Field) can't bear to lose another. Playwright Tony Kushner, who adapted the screenplay, takes a page from the procedural handbook in tracing Lincoln's steps to win over enough representatives to abolish slavery, while simultaneously bringing a larger-than-life leader down to a more manageable size. In his stooped-shoulder slouch and Columbo-like speech, Day-Lewis succeeds so admirably that the more outspoken characters, like congressman Thaddeus Stevens (Tommy Lee Jones) and lobbyist W.N. Bilbo (James Spader), threaten to steal the spotlight whenever they enter the scene, but the levity of their performances provides respite from the complicated strategising and carnage-strewn battlefields. If Lincoln doesn't thrill like the Kushner-penned Munich, there's never a dull moment--though it would take a second viewing to catch all the political nuances. --Kathleen C. Fennessy
Set in Florence and the English countryside, the film tells the story of a young English couple, Lucy Honeychurch (Helena Bonham Carter) and George Emerson (Julian Sands), who encounter passion whilst on holiday in Italy. Defying the Victorian conventions of their elders they dare to be true to their feelings, each other and true love. Superbly adapted from E.M. Forster's classic novel, and boasting a wonderful supporting cast including Daniel Day-Lewis, Maggie Smith, Dame Judi Dench, Denholm Elliot and Simon Callow, A Room With A View was a world-wide smash hit and cemented the reputation of Merchant Ivory as masters of the period film.
Daniel Day-Lewis won a much-deserved Oscar for My Left Foot, with a wily and passionate performance as Irish artist and writer Christy Brown, whose cerebral palsy kept him confined to a wheelchair. Filmmaker Jim Sheridan (In the Name of the Father) adapts Brown's own autobiography for this spirited piece, focusing on the, sometimes difficult, fellow's formative years in his large family and in love with sundry women. Day-Lewis is inspired, and Brenda Fricker (also a recipient of an Oscar for her part in this movie) is almost luminous as Christy's dedicated mother. So, too, are Ray McAnally as the hero's stormy father, and Hugh O'Conor (The Young Poisoner's Handbook) as the child Christy. All in all, this is a complete pleasure for viewers. --Tom Keogh , Amazon.com
A theatre director, facing up to a midlife crisis, is torn every which way by the nine, titular women in his life in Rob Marshall's eagerly awaited musical.
A dentist hired to trade across the state meets up with a runaway and trouble in this romantic comedy.
Daniel Day-Lewis stars as Tomas, the happily irresponsible Czech lover of Milan Kundera's novel, which is set in Prague just before and during the Soviet invasion in 1968. Lena Olin and Juliette Binoche are the two vastly different women who occupy his attention and to some extent represent different sides of his values and personality. In any case, the character's decision to flee Russian tanks with one of them--and then return--has profound consequences on his life. Directed by Philip Kaufman, this rich, erotic, fascinating character study with allegorical overtones is a touchstone for many filmgoers. Several key sequences--such as Olin wearing a bowler hat and writhing most attractively--linger in the memory, while Kaufman's assured sense of the story inspires superb performances all around. --Tom Keogh
New York 1863. Amsterdam Vallon (Leonardo DiCaprio), a young Irish-American immigrant, returns after fifteen years to seek revenge against William Cutting (Daniel Day Lewis) the powerful anti-immigrant gang leader who killed Amsterdam's father.
Titles Comprise:The Boxer: When Danny Flynn returns to his Belfast neighbourhood after 14 years in prison, all he wants is to find peace, resume his career and reclaim the love of the woman who has remained etched in his mind. As they slowly embrace the possibilities of renewed romance, they realise cultural taboos stand in the way and fighting for love could cost them their lives.In The Name Of The Father: Academy Award winner Daniel Day-Lewis gives an impassioned performance in this riveting drama that mirrors one man's 15 year struggle and ultimate triumph over a terrible injustice. Oscar winner Emma Thompson co-stars in this gripping and highly emotive film. In The Name Of The Father tells the true-life saga of Gerry Conlon. A petty thief in strife torn '70s Belfast, Gerry's main interests are getting drunk and partying, much to the dismay of his quiet, frail father, Giuseppe (Pete Postlethwaite). When Gerry angers the IRA, his father sends him to England, where his antics put him in the wrong place, at the wrong time. Innocent, but forced to confess to an act of savage terrorism, he is sentenced to life imprisonment as one of the 'Guildford Four'. An innocent Giuseppe is also arrested, and while behind bars, Gerry learns that his father's seeming frailty masks an unmatched inner strength and wisdom. Working with a fiercely dedicated lawyer, Gerry determines to prove his innocence, clear his father's name and expose the truth behind one of the most shameful legal events in recent history.
A brutal bloody and gripping saga of obsession corruption and poisonous greed; Paul Thomas Anderson's Award Winning There Will Be Blood is a masterly unwavering inspection of a consummately evil man whose trailblazing spirit is equalled only by his murderous ambition. In the dying years of the nineteenth century Daniel Plainview (Daniel Day-Lewis) a struggling silver miner realises that true wealth lies in oil extraction. Driven by a passionate hatred for others and an intense psychological need to see competitors fail he heads for the oil-rich land of California in a bid to manipulate and exploit the landowners of dust-worn Little Boston in to selling him their properties. Forefront of the town is self-styled `faith healer' Eli Sunday (Paul Dano) who is structuring his own sinister plan to funnel the residents' impending wealth into his self-founded church. As Plainview's empire expands so does his obsession with the intrinsic value of power and he becomes increasingly irascible and paranoid along the way. What follows is a vindictive ruthless and violent chain of events as Plainview fails to deliver on promises as he pits himself against the town's perturbed and unstable charismatic teenage preacher. In addition to stunning visuals and an exceptional captivating score from accomplished composer (and Radiohead guitarist) Jonny Greenwood director Paul Thomas Anderson (Magnolia) owes his best work to date to the incredible Academy Award winning performance as Plainview by Daniel Day-Lewis and the staggering portrayal of Eli Sunday by Paul Dano (Little Miss Sunshine). Bearing similarities to Citizen Kane and Giant There Will Be Blood is an intelligent thought-provoking and powerfully-eccentric epic masterpiece that is as enchanting as it is timeless.
If it had been written as a piece of fiction no one would have believed it, but In the Name of the Father is the true story of one of the most shocking episodes in British legal history. Dealing with the events surrounding the Guildford pub bombing in 1974 and the subsequent 15-year fight for justice, the film portrays a nation in the grip of an anti-system, desperate to find culprits at any cost, however immoral, illegal or brutal. By playing out the drama in personal as well as political terms--the relationship between Gerry Conlon (Day-Lewis) and his father (Pete Postlethwaite) becomes the story's centrepiece--the film works on numerous levels, but the events are no less shameful for it. The court case that ultimately freed the three men and one woman only takes centre stage for the last 20 minutes but despite that--and the fact that the outcome is no secret--it is high drama and completely gripping. This is an unmissable example of genuinely courageous cinema. On the DVD: Where the real-life events behind the film might have offered huge scope for additional material, the DVD provides little beyond production and cast notes. The film's re-creation of both 1970s Belfast and London is very realistic, intensified by the anamorphic screen ratio, and the excellent soundtrack (including Bono, Sinead O'Connor and Thin Lizzy), which helps drive the action, is intensified by the Dolby Digital 5.1 soundtrack. --Phil Udell
A story about family, greed, religion, and oil, centered around a turn-of-the-century Texas prospector (Daniel Day-Lewis) in the early days of the business.
Director Jim Sheridan links up once more with Daniel Day-Lewis for 1997's The Boxer, a study of a violent Belfast's uneasy crossover into the peace process (they had previously worked on My Left Foot among other films). Day-Lewis stars as Danny Flynn, imprisoned in his late teens for terrorism, now out after 14 years. A once promising boxer, he's initially looking to resume what's left of his career. However, his rekindled love for Maggie (Emily Watson), daughter of local IRA boss (Brian Cox), is coupled with a need to be a part of the healing process in Northern Ireland. With the help of his former trainer (Ken Stott), he reopens a non-sectarian gym. However, the non-pacific wing of the IRA, personified by Gerard McSorley, resents Flynn, not least for consorting with Maggie, who is another IRA prisoner's wife. Day-Lewis plays Flynn as an almost spiritual figure, still caught in the introspection that enshrouded him during his years in jail. Ironically, the well-executed boxing scenes provide a respite from the air of serious violence that pervades the rest of the film, symbolised by the ominous rotorblades of the ever-present helicopters, from which much of the action of this sad, yet gripping and ultimately uplifting movie, is shot.On the DVD: Generous extras include commentaries from producer Arthur Lappin, who offers a tourist's guide to various locations, as well as one from director Jim Sheridan, who offers technical info and remarks drily of a brief, tart exchange between Maggie and Flynn, "This is an Irish love scene". There's also an alternative (though not that alternative) ending, extra scenes which probably deserved to stay on the cutting room floor and, most illuminatingly, a featurette on the movie. This reveals that the career of Barry McGuigan (boxing advisor here) provided Sheridan with the impetus to make The Boxer, inspired by the courage and grace he showed in the ring to rise above partisanship. --David Stubbs
The Last of the Mohicans is a large-scale adventure set during the colonial conflicts between Britain and France 20 years before the American War of Independence. Based loosely on the novel by James Fenimore Cooper, but actually inspired by director Michael (Manhunter, Heat) Mann's boyhood love of the 1936 film of the same name, this is rousing, romantic stuff. As "Hawkeye", a white raised by the last of the Mohican tribe, Daniel Day-Lewis delivers a performance which, had he followed it up, could have established him as an action hero for the 1990s and beyond. Despite an under-written role Madeline Stowe convinces as the heroine. The remaining cast are uniformly excellent. Filmed amid the spectacular mountains, rivers and forests of North Carolina by Mann's regular cinematographer, Dante Spinotti, the film is a visual joy, while Trevor Jones' majestic, spine-tingling score (with additional music by Randy Edleman) is one of the finest of the decade. Taking time to establish the motives of British and French colonists and the various native tribes, as well as the varying opinions and characters within these groupings, Mann offers much greater balance and complexity than The Patriot (2000), yet never looses sight of the object here: telling a stirring yarn laced with bold action set pieces and passionate romance. On the DVD: The anamorphically enhanced 2.35:1 image is a massive improvement over VHS, but still shows considerable grain in many scenes, possibly a result of the film being shot in low, natural light and containing many very dark sequences. The Dolby Digital 5.1 soundtrack is very powerful, though little use is made of the rear channels, and in some scenes the sound effects all but drown out the dialogue. Isolated scores are usually only found on feature-packed special editions, so the inclusion here is a welcome surprise--and a testament to its popularity. The only other extra is an anamorphic 2.35:1 presentation of the immensely stirring theatrical trailer. --Gary S Dalkin
Celebrate 100 years of Columbia Pictures with the fifth volume of the Columbia Classics 4K Ultra HD Collection! Featuring six award-winning masterpieces, including three Best PictureAcademy Award® winners, now debuting on 4K Ultra HD. With hours of special features and an exclusive 80-page book with unique insights and production detail about each of the films, go deeper into these classics than ever before.Titles included: ALL THE KING'S MEN, ON THE WATERFRONT, A MAN FOR ALL SEASONS, TOOTSIE, THE AGE OF INNOCENCE and LITTLE WOMEN (2019)
Daniel Day-Lewis and Brenda Fricker give Oscar winning performances in an emotional tale of life love and one family's incredible sense of courage. Based on the story of Christy Brown this highly acclaimed film depicts his struggle for a normal life. Born with cerebral palsy into a poor working-class Irish family Christy was able only to control movement in his left foot and to speak in guttural sounds. With the help of his strong-willed and dedicated family and his own sheer courage and determination Christy not only learns to grapple with life's simple physical tasks and complex psychological pains but he also develops into a brilliant painter poet and author.
A story about family, greed, religion, and oil, centered around a turn-of-the-century Texas prospector (Daniel Day-Lewis) in the early days of the business.
As with the great John Ford (Young Mr. Lincoln) before him, it would be out of character for Steven Spielberg to construct a conventional, cradle-to-grave portrait of a historical figure. In drawing from Doris Kearns Goodwin's Team of Rivals, the director instead depicts a career-defining moment in the career of Abraham Lincoln (an uncharacteristically restrained Daniel Day-Lewis). With the Civil War raging, and the death toll rising, the president focuses his energies on passage of the 13th Amendment. Even those sympathetic to the cause question his timing, but Lincoln doesn't see the two issues as separate, and the situation turns personal when his son, Robert (Joseph Gordon-Levitt), chooses to enlist rather than to study law. While still mourning the loss of one son, Mary (Sally Field) can't bear to lose another. Playwright Tony Kushner, who adapted the screenplay, takes a page from the procedural handbook in tracing Lincoln's steps to win over enough representatives to abolish slavery, while simultaneously bringing a larger-than-life leader down to a more manageable size. In his stooped-shoulder slouch and Columbo-like speech, Day-Lewis succeeds so admirably that the more outspoken characters, like congressman Thaddeus Stevens (Tommy Lee Jones) and lobbyist W.N. Bilbo (James Spader), threaten to steal the spotlight whenever they enter the scene, but the levity of their performances provides respite from the complicated strategising and carnage-strewn battlefields. If Lincoln doesn't thrill like the Kushner-penned Munich, there's never a dull moment--though it would take a second viewing to catch all the political nuances. --Kathleen C. Fennessy
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