Clever twists and a bona fide surprise ending make Primal Fear an above-average courtroom thriller. Tapping into the post-O J scrutiny of the American legal system in the case of a hotshot Chicago defence attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalises on his shifty screen persona and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. --Jeff Shannon, Amazon.com
CIA operative Paul Shepherdson spent his career hunting legendary Soviet assassin Cassius. Now retired, he's sure that Cassius is dead, but when a US senator's murder bears the signature of the notorious killer, Shepherdson is forced back into service.
Welcome to the Cotton Club where crime lords rub shoulders with the rich and famous. Cornet player Dixie Dwyer gets a job in Harlem's famous Cotton Club while his brother gets a job as Dutch Schultz's bodyguard. Dwyer falls for Schultz's mistress Vera Cicero and finds himself caught in the middle of mobster rivalry in this stylish gangster film.
An Officer And A Gentleman (Dir. Taylor Hackford 1981): Zack Mayo is a young loner with a bad attitude. Tempted by the glamour and admiration of the life of a Navy pilot he decides to sign up for Officer Candidate School. After thirteen tortuous weeks under Gunnery Sergeant Emil Foley (Gossett Jnr.) he slowly begins to learn the importance of discipline love and friendship. Foley warns Zack about the local girls who will do anything to catch themselves a pilot for a husband
Something of a genre homecoming Antoine Fuqua's latest film once again finds him delving into the gritty brutal realm of cops and crooks-as he did in Training Day. Tango is an undercover officer on a narcotics detail that forces him to choose between duty and friendship. Having been to hell and back he wants out but the powers that be won't let him quit. Family-man Sal is a detective tempted by greed and corruption. He can barely make ends meet and now his wife has an illness that threatens the life of their unborn twins. Eddie is nearing retirement age and has long since lost his dedication to his job as a cop. He wakes up every morning trying to come up with a reason to go on living...and he can't think of one. Fate brings the three men to the same Brooklyn housing project as each takes the law into his own hands. Crosscutting between multiple subplots Brooklyn's Finest unfolds violently and passionately as coiled constantly roving cinematography contributes a measure of unease to the underworld action.
'Yanks' is the moving story of American servicemen stationed in England during the Second World War and the impact that their presence had on the lives of people in a small Lancashire village. This beautifully filmed drama follows three American soldiers and the relationships that they form with three local women: Jean Helen and Mollie. The relationships that blossom would affect their lives forever. This romantic and memorable movie highlights the cultural differences that ex
Bruce Willis is The Jackal - the greatest assassin in history - out to eliminate a top U.S. government official. Declan Mulqueen an imprisoned underground operative is the only man who can stop him. Now the Deputy Director of the FBI is taking the biggest risk of all . . . he's releasing one criminal to stop another in this terrifically explosive totally intrigueing suspense thriller.
I'm Not There is an unconventional journey into the life and times of Bob Dylan. Cate Blanchette Richard Gere Heath Ledger Christian Bale Marcus Carl Franklin and Ben Whishaw portray Dylan as a series of shifting personae - from the public to the private to the fantastical - weaving together a rich and colourful portrait of this ever elusive American idol.
Based on the French film, The Return of Martin Guerre (which itself was based on a famous court case), this 1993 film by director Jon Amiel recasts the same essential story in post-Civil War Tennessee, in a dirt-poor town suffering the effects of the South's loss. Jodie Foster plays Laurel Sommersby, a widow whose husband died in the Civil War--or so everyone thinks. Then one day, Jack Sommersby (Richard Gere) strolls back into town and back into Laurel's bed--seemingly a very changed man. Gone is the selfish, nasty guy no one much liked. In his place is a friendly, sensitive and resourceful new Jack who not only rekindles the long-dead fire of his marriage, but revives the entire town. Except for one small catch: he may not actually be Jack Sommersby at all. Beautifully shot by Amiel (with a great assist from cameraman Philippe Rousselot) from a script by Nicholas Meyer and Sarah Kernochan, the film features a sturdy, even flinty performance by Foster and a beguiling one by Gere. Though the ending will squeeze the tear ducts, the film earns those tears. --Marshall Fine, Amazon.com
Loner Zack Mayo (Richard Gere) enters Officer Candidate School to become a Navy pilot, and in thirteen tortuous weeks, he discovers what it means to be a man of honour. Louis Gossett, Jr. won an Oscar® for his portrayal of Foley, the drill instructor who teaches Zack that no one can make it alone. While Foley tries to warn the young officer about the local girls trying to land themselves pilot husbands, he finds himself caught by one (Debra Winger). His fellow candidate and friend Sid (David Keith), struggles with a very different fate.
Breathless, Jim McBride's 1983 remake of Au Bout de Souffle rewrites Godard's existential hipster as a vain, style-obsessed hood and in the process loses some of the point. Godard's hero was a translation and productive misunderstanding of a quintessentially American sort of delinquent; because it is a retranslation, Gere's intelligent, nervy performance as Jesse Lujack suffers by comparison, however admirable it is taken in itself. McBride's direction strokes Gere's face and body lovingly--his every foxy smile, or glance at himself in a mirror, is played for passionate significance. This is also a good-looking film: the back alleys of LA and sunset over the Mojave desert have rarely looked as good. Valerie Kaprisky's Monica is inevitably given secondary importance; the decision to make the woman who goes along with Jesse's wild final ride on a whim an exchange student makes her at once more and less like her equivalent in the Godard--she has a touching exoticism that is at the same time somehow beside the point. The DVD includes the original theatrical trailer. --Roz Kaveney
This film, which again pairs Richard Gere and Kim Basinger (who starred in 1986's No Mercy), offers up elements of classic noir: a hapless man becomes intimately involved with a beautiful blonde who may or may not be who or what she appears to be. Dedicated psychiatrist Isaac Barr (Gere) reluctantly, and then more obsessively, becomes involved with Heather Evans (Basinger), the sister of his patient, Diana Baylor (Uma Thurman). Evans is unhappily married to a gangster (appropriately played by a muscular and menacing Eric Roberts in a trademark role). Gere and Basinger make a credible, if dangerous couple, and Thurman delivers a subtle, understated performance and demonstrates her range and potential. The thriller is appropriately shot in gorgeous San Francisco, where the literal and figurative curving and hilly roads wind throughout. Credit legendary art director Dean Tavoularis for some amazing sets and scenes, notably the elegantly cavernous restaurant where Evans and her husband have a fateful dinner. This film is, in a way, glossy director Phil Joanou's Hitchcockian tribute--as a climactic lighthouse scene best demonstrates. Final Analysis doesn't offer an intimate look at its characters, but a beautifully stylized one, moody and gloomy. The intricate plot experiments with the device of "pathological intoxication," in which the subject completely loses control after drinking alcohol. And this doesn't mean a conventional ugly drunk; it means a frightening psychotic. Good and evil, hope and despair, beauty and repulsion are often juxtaposed in the film's complex world. --NF Mendoza
A middle-aged wife and mother has an unexpected and torrid affair with a handsome younger man. After her husbands discover they must face the consequences of their actions...
A troubled hedge fund magnate desperate to complete the sale of his trading empire makes an error that forces him to turn to an unlikely person for help.
Bruce Willis is The Jackal - the greatest assassin in history - out to eliminate a top U.S. government official. Declan Mulqueen an imprisoned underground operative is the only man who can stop him. Now the Deputy Director of the FBI is taking the biggest risk of all . . . he's releasing one criminal to stop another in this terrifically explosive totally intriguing suspense thriller.
Hachi: A Dog's Tale is the heartwarming true story about an unbreakable bond between a University professor and his dog.
Originally shown on the big screen in glorious 70 mm, Terrence Malick's Days of Heaven is an aesthetically flawless eye-catching period piece that won its cinematographer, Néstor Almendros, an Oscar. Texture and colour are the unbilled characters in this tragic tale, and are just as important as the players. Richard Gere works in a Chicago steel mill at the turn of the 19th century, but must flee the city after accidentally killing a man. Heading for the wheat fields of Texas, he packs up his girlfriend (Brooke Adams) and his younger sister (Linda Manz). Instead of a better life, they head straight into tragedy when a wealthy farmer (Sam Shepard) falls for Adams. Believing him to be dying and expecting to inherit a fortune, she agrees to marry him. Their plans change when Shepard fails to die and Gere takes matters into his own hands. The story, sadly, fades somewhat when compared to the glory of the visuals. --Rochelle O'Gorman
An increasingly desperate man, George (Richard Gere), finds himself homeless on the unforgiving streets of New York City. When he seeks refuge at Bellevue Hospital, Manhattan's largest intake center for homeless men, he befriends a seasoned shelter-dweller (Ben Vereen) and begins to find hope of repairing his relationship with his estranged daughter (Jena Malone). With a successful career spanning four decades, TIME OUT OF MIND sees Gere immerse himself in the role of George - navigating the bureaucratic troubles of shelters in New York City, providing additional insight into urban poverty, challenging our perception of the homeless and bringing compassion to a group of people who are often neglected by society.
At a time when crimes of passion result in celebrity headlines nightclub sensation Velma Kelly (Catherine Zeta Jones) and spotlight-seeking Roxie Hart (Renee Zellweger) both find themselves sharing space on Chicago's famed Murderess Row! They also share Billy Flynn (Richard Gere) the town's slickest lawyer with a talent for turning notorious defendants into local legends. But in Chicago there's only room for one legend!
Using a faulty thriller for his soapbox as an outspoken critic of China, a devout follower of the Dalai Lama, and an influential supporter of Tibetan freedom, Richard Gere resorts to the equivalent of propagandistic drama to deliver a heavy-handed message. In other words, Red Corner relies on a dubious strategy to promote political awareness, but director Jon Avnet appeals to the viewer's outrage with such effective urgency that you're likely to forget you're being shamelessly manipulated. Gere plays a downtrodden TV executive who sells syndicated shows on the global market, and during a business trip to China he finds himself framed for the murder of the sexy daughter of a high Chinese official. Once trapped in a legal system in which his innocence will be all but impossible to prove, Gere must rely on a Chinese-appointed lawyer (played by Bai Ling) who first advises him to plead guilty but gradually grows convinced of foul play. Barely attempting to hide its agenda, Red Corner effectively sets the stage for abundant anti-Chinese sentiment, and to be sure, the movie gains powerful momentum with its tale of justice gone awry. It's a serious-minded, high-intensity courtroom drama with noble intentions, but one wonder if it has to be so conspicuously lacking in subtlety. --Jeff Shannon, Amazon.com
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