In future Britain, Alex DeLarge, a charismatic and psychopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, while attempting to save a preadolescent prostitute in the process.
Robert De Niro,
A group of reporters are trying to decipher the last word ever spoken by Charles Foster Kane, the millionaire newspaper tycoon: "Rosebud." The film begins with a news reel detailing Kane's life for the masses, and then from there, we are shown flashbacks from Kane's life. As the reporters investigate further, the viewers see a display of a fascinating man's rise to fame, and how he eventually fell off the top of the world. Written by
Orson Welles' 156-page personal working copy of the script for the film sold for $97,000 in 2007. See more »
In the newsreel sequence, a gazette in Spanish is shown, announcing Kane's death. The newspaper's name is "El Correspendencia" but that name simply makes no sense for Spanish speakers. The closest match to this would be "La Correspondencia" because most of the words that end with an "A" are meant to reflect a female gender and the correct article is "La", not "El". However, that literally means "The Mail" and this is just a generic name which is fairly related to news media. Also, the words "Murió" in the header, as well as the "Xanadú" in the article's text are misspelled because they lack the accent marks on the last vowels. Another mistake is "Destinguido editor" instead of "Distinguido editor" can be read below the article's title. Finally, the title would never be written as such in Spanish (you can read "Madrid" in the paper): you wouldn't say "El Sr. Kane se murió" but rather "El Sr. Kane ha muerto". It might be a "Heart of Darkness" reference, with the intention that it be translated as "Mr. Kane, he dead." See more »
CITIZEN KANE may let some people down, but it's still worth seeing.
It's a difficult undertaking for someone of my generation to watch a film like CITIZEN KANE. Not because it's "too old" or "too boring", but because it has been hailed--almost universally--as the single best motion picture ever made. And while the anticipation of seeing a film with such overwhelming acclaim may be quite exhilarating, actually watching it is ultimately an intimidating and somewhat disappointing experience.
This isn't to say that I thought CITIZEN KANE was a bad film; in fact, I thought everything about it was downright brilliant. From the enchanting performances right down to the meticulously planned camera movements and clever lighting tricks, there isn't a single element of CITIZEN KANE that isn't a stunning achievement in all areas of filmmaking.
CITIZEN KANE's storyline is deceptively simple. Even though the plot unfolds by jumping in and out of nonlinear flashbacks, it is surprisingly easy to keep track of. The straightforwardness and relatively fast pace of the story are what make it seem intimidating. Because everything moves smoothly along without any standstill, it feels like we are being fooled-like there is something much greater that we just can't seem to grasp. As a first-time viewer, I knew from its reputation that there must be *something* that separates this movie from all the others; something buried within its simple plotline that everybody else has seen, but that I just could not seem to get a handle on. And then, during those final frames, that something was revealed, and it all began to make sense. To me, it was these moments of confusion and uncertainty followed by a sense of enlightenment and appreciation that made watching CITIZEN KANE such a meaningful experience.
But no matter how great of a movie CITIZEN KANE really is, it can never live up to one's expectations. Although I do feel that it is deserving of its acclamation, the constant exposure to its six decades worth of hype and praise will invariably set most modern viewers' standards at a height that is virtually unreachable--even if it really *is* the best movie of all time.
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