Portraying one of the shadier details of American history, this is the story of Jack McGurn, who comes to Los Angeles in 1936. He gets a job at a movie theatre in Little Tokyo and falls in ... See full summary »
The hit musical based on the life of Evita Duarte, a B-picture Argentinian actress who eventually became the wife of Argentinian president Juan Perón, and the most beloved and hated woman in Argentina.
A fifteen year marriage dissolves, leaving both the husband and wife, and their four children, devastated. He's preoccupied with a career and a mistress, she with a career and caring for ... See full summary »
Two FBI agents investigating the murder of civil rights workers during the 60s seek to breach the conspiracy of silence in a small Southern town where segregation divides black and white. The younger agent trained in FBI school runs up against the small town ways of his former Sheriff partner. Written by
Keith Loh <email@example.com>
Director Alan Parker and his crew whipped up batches of what they called OMD - Old Man's Dick. This ugly mix of purple, yellow and brown was painted on every piece of set - every chair, every table top, every prop. They made up a dye and dipped costumes into it - everyone's from the FBI agents, the white supremacists and the black civil rights campaigners who are murdered at the start.
Stephen Tobolowsky, the actor who played white supremacist Clayton Townley saw the process first hand, then went to the film's premiere and wondered why the stuff wasn't showing up on screen.
Parker ambushed Tobolowsky afterwards and asked him 'what did you see?'. Tobolowsky said he hadn't seen OMD. 'I didn't ask you what you didn't see, I asked you what you saw'. Tobolowsky suddenly realized his eyes were drawn to the black actor's skin. "Alan's face turned a lovely red and he said 'right'," Tobolowsky said.
The only thing OMD didn't touch was human skin. You watch the film and the OMD is invisible but it gives everything except human skin a dull sameness that makes your eyes look elsewhere - to human skin, the most important visual in a film about racism. See more »
When Agents Ward and Anderson are fighting outside the hospital where Mrs. Pell is after being beaten by her husband, Ward pulls a gun on Anderson. We hear Ward cock his revolver. In a subsequent shot, while Ward still has his gun pointed at Anderson, we can see the hammer has not been pulled back as the sound effect would have indicated. See more »
What is it?
[seeing the car behind them]
What do they want?
I don't know... just pass me... pass me...
[trying to identify the following car]
Is it a cop?
I can't see.
[they are hit from behind]
What the fuck are these jokers playin' at?
Oh, they ain't playin', you better believe it.
[...] See more »
A highly charged box of fireworks is the best way to describe "Mississippi Burning". It is 1964 and the Civil Rights Movement is tearing apart many areas in the deep south. Mississippi is definitely the hottest spot of all as the entire state seems to be split between whites and African Americans. After some white Civil Rights activists disappear, the FBI is called in to investigate (Oscar-nominee Gene Hackman and Willem Dafoe). Naturally the sheriff's department is difficult to say the least and it appears that it may have even had a part in the apparent murders. Frances McDormand (Oscar-nominated) proved that she was a truly gifted actress as the wife of one of the local deputies (an evil Brad Dourif). Alan Parker's smart Oscar-nominated direction and the Oscar-winning cinematography give the film a tense feel that leaves its audience visibly shaken during and after its running time. A great achievement. Easily one of the finest films of the 1980s. 5 stars out of 5.
44 of 58 people found this review helpful.
Was this review helpful to you?