"The book was better" has been the complaint of many a reader since the invention of films. The Green Mile is Frank Darabont's second adaptation of a Stephen King prison drama The Shawshank Redemption was the first) and is a very faithful adaptation of King's serial novel. In the middle of the Depression, Paul Edgecomb (Tom Hanks) runs death row at Cold Mountain Penitentiary. Into this dreary world walks a mammoth prisoner, John Coffey (Michael Duncan) who, very slowly, reveals a special gift that will change the men working and dying (in the electric chair, masterfully and grippingly staged) on the mile. As with King's book, Darabont takes plenty of time to show us Edgecomb's world before delving into John Coffey's mystery. With Darabont's superior storytelling abilities, his touch for perfect casting, and a leisurely 188-minute running time, his film brings to life nearly every character and scene from the novel. Darabont even improves the novel's two endings, creating a more emotionally satisfying experience. The running time may try patience, but those who want a story, as opposed to quick-fix entertainment, will be rewarded by this finely tailored tale. --Doug Thomas
Set on Death Row in a Southern prison in 1935, The Green Mile is the remarkable story of the cell block's head guard, who develops a poignant, unusual relationship with one inmate who possesses a magical gift that is both mysterious and miraculous.
Bodybuilders Daniel Lugo (Mark Wahlberg) and Adrian Doorbal (Anthony Mackie) concoct a plan to kidnap rich spoiled business man Victor Kershaw (Tony Shalhoub), a regular at the gym where they work, and extort him by means of torture.
A doctor, wrongly convicted for a murder he didn't commit, escapes custody and must stay ahead of the police to find the real killer.
Based on David McCullough's bestselling biography, the HBO miniseries John Adams is the furthest thing from a starry-eyed look at America's founding fathers and the brutal path to independence.
Kurt Russell and Dakota Fanning star in this equestrian family drama.
A supernatural thriller in which ten airline passengers wake up during their flight to find all the other passengers and the crew have disappeared...
Geena Davis and her former husband, director Renny Harlin, attempted to pick up the pieces after the debacle of their box-office disaster, Cutthroat Island. What they came up with was The Long Kiss Goodnight, a repulsive ode to American film noir, based on a script by Shane Black (Lethal Weapon) about an amnesiac schoolteacher (Davis) who searches for her true identity and finds she is actually a secret agent immersed in a deadly plot to topple the government. Mechanistic in its violence, obnoxious in its attitude, the film makes Davis, a once-promising actress, nothing more than a special effect. She tosses one to sadists in the audience by allowing her character to be beaten, punched unconscious and tortured. --Tom Keogh
A teen living under house arrest becomes convinced his neighbour is a serial killer.
The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contact astonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day--each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)--her search having taken her to places beyond her imagination--turning her gaze inward and seeing the universe in a handful of sand. Contact traces the journey between those two visual epiphanies. Based on Carl Sagan's novel, Contact is exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from 2001 to The Right Stuff. Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest)reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable--Contact is all of these things and more. Much of it remains open to speculation and interpretation but whatever conclusions one eventually draws, Contactdeserves recognition as a rare piece of big-budget studio film making on a personal scale. --Jim Emerson
In this latest film adaptation of a Stephen King novel Anthony Hopkins stars in the tale of a widowed mother and her son whose lives change when a mysterious stranger moves into the apartment above them.
A heart-rending emotionally explosive musical from acclaimed director Lars von Trier. Selma (Bjork) is a Czech immigrant working in a factory in Washington State. Not only is Selma struggling to make ends meet she is also trying to save up for an operation to cure her young son of the genetic disease that is gradually blinding her. Her only joy is the role of Maria in a local production of The Sound of Music... Winner of the 2000 Palme d'Or 'Dancer in the Dark' is an outstanding
A grief counselor working with a group of plane-crash survivors finds herself at the root of a mystery when her clients begin to disappear.
An aging cop is assigned the ordinary task of escorting a fast-talking witness from police custody to a courthouse.
Nicolas Cage stars as a vengeance-fuelled father who breaks out of Hell to pursue the killers of his daughter and save her kidnapped baby in Drive Angry, the new in-your-face shocker from the team behind My Bloody Valentine!
Although it eventually runs out of smart ideas and resorts to a typically explosive finale, this above-average thriller rises above its formulaic limitations on the strength of powerful performances by Samuel L Jackson and Kevin Spacey. Both play Chicago police negotiators with hotshot reputations, but when Jackson's character finds himself falsely accused of embezzling funds from a police pension fund, he's so thoroughly framed that he must take extreme measures to prove his innocence. He takes hostages in police headquarters to buy time and plan his strategy, demanding that Spacey be brought in to mediate with him as an army of cops threatens to attack, and a media circus ensues. Both negotiators know how to get into the other man's thoughts, and this intellectual showdown allows both Spacey and Jackson to ignite the screen with a burst of volatile intensity. Director F Gary Gray is disadvantaged by an otherwise predictable screenplay, but he has a knack for building suspense and is generous to a fine supporting cast, including Paul Giamatti as one of Jackson's high-strung hostages, and the late JT Walsh in what would sadly be his final big-screen role. The Negotiator should have trusted its compelling characters a little more, probing their psyches more intensely to give the suspense a deeper dramatic foundation, but it's good enough to give two great actors a chance to strut their stuff. --Jeff Shannon
Russell Crowe stars as Terry Thorne, a K&R (kidnap and rescue) expert called in by the wife of an American engineer (played by Meg Ryan) when her husband is kidnapped in South America.
A teen living under house arrest becomes convinced his neighbour is a serial killer.
Benicio Del Toro, Patricia Arquette, Paul Dano and Bonnie Hunt star in ESCAPE AT DANNEMORA, a SHOWTIMEÂ® Limited Event Series directed and executive produced by Ben Stiller. Based on the stranger-than-fiction prison break in upstate New York, ESCAPE AT DANNEMORA follows the story of two convicts who spawned a statewide manhunt and were aided in their escape by a married female prison employee who became involved with both men. It's a bizarre tale filled with twists and turns, yet through it all there's one thing that unites the inmates and citizens of Dannemora everyone's looking for a way out. Special Features: Primary Sources Making of Sweat's Run Audio Commentary by Ben Stiller, Patricia Arquette, and the filmmakers
For Mark Evans (Wood) the loss of his mother is too much to bear. What Mark needs is friendship and companionship so in a desperate bid to overcome his bereavement he is sent to stay with his cousin Henry (Culkin). But Mark discovers to his horror that his cousin is hiding dark secrets and a wicked mind full of trouble. His idea of fun is both evil and deadly... so deadly that Mark soon finds himself hunted and on the run in a deadly cat and mouse game of horror.
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